London
Tuesday 14 March 2017
HAVING NIGHTMARES ABOUT SCALING YOUR BUSINESS?
Innovative solutions to the problems that keep you up at night.
See us at Booth 3B41 at the London Book Fair.
Quantum books are alive and kicking
In his opening keynote at the
London Book Fairs pre-
conference, Quantum, Steve
Bohme (below), research
director at Nielsen Book
Research UK, ran down
Nielsens just-released 2016
book industry stats, which
showed British print book
purchases on the rise for the
second year in a row, writes
Andrew Albanese.
In 2016, consumers
turned up their printed book
purchases by around 4%,
Bohme told attendees. And
with higher prices boosting
spending, we saw spending
on printed books by UK
consumers up by 7%.
Bohme said that the
industry should be buoyed
by the strong 2016 results
and overall solid growth,
especially among younger
consumers. Its refreshing
to see how books generally,
and print books in
particular, are still appealing
to younger consumers, both
male and female, despite so
many other forms of
visit pW and Bookbrunch at Stand 6C73
entertainment and
information competing for
their attention, he observed.
Jacks Thomas, director of
the London Book Fair,
agreed. After many years of
concern about e-reading
cannibalising the sales of
print books, she noted, the
trend now showed print was
back on the upswing. Im
sure the book industry and
the general public will be
pleased to hear that our
beloved books are very
much alive and kicking,
Thomas added, in a
statement.
Over the course of his
David Bowie-themed
presentation, Bohme hit the
major beats of Nielsens
2016 Books & Consumers
report, also offering good
news for British bookstores,
which posted a 4% rise in
book purchases through
physical stores, compared to
flat online saleshowever,
online retailers also
continued to grow their
market share of the print
market, albeit with a modest
1% rise in volume.
The report wasnt all good
news, however. In running
down some of the pressure
points facing the book
business, Bohme noted the
ever-growing competition for
readers attention. While the
sales figure are really very
promising, we shouldnt get
too complacent because over
the past four years, the
proportion of book buyers
who perceive themselves as
reading books daily has
fallen by about 3%, he said.
At the same time, he added,
daily use of social media had
surged, as had the time spent
on streaming video sites,
especially among younger
age groups. And in an eye-
opening conclusion, Bohme
said that Nielsen data
showed that the self-
publishing market in the UK
had stabilized, essentially
flattening out, as ebook
prices were rising faster than
print prices.
inside:
Rights
Round-Up
UK 3
Rights
Round-Up
US 4
LBF
Briefcase
UK AND US 6
Custom
Solutions
FOR RETAILERS,
LIBRARIES &
PUBLISHERS

Visit us at Stand 6C108 to learn more.

Baker & Taylors partnership with Follett makes us the worlds largest single source
of books, entertainment products, digital content and multi-media for schools,
libraries, retailers and colleges. Through the launch of Global Publishers Services
and our ongoing partnership with Bookmasters, we are excited to bring our
expertise in supply chain solutions to publishers worldwide.

GLOBAL DISTRIBUTION NETWORK

WIDE RANGE OF U.S. & U.K. TITLES
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ksteele@bookmasters.com | i n t l s a l e @ b a k e r - t a y l o r. c o m | g p s @ b a k e r - t a y l o r. c o m
 Tuesday 14 March 2017
BookMap to offer data on Rights round up
global publishing
How big is book publishing
worldwide? Which book
markets are growing? How
about, what are the emerging economies, like Brazil, Russia
or China? A new initiative called BookMap, launching
today at the London Book Fair, will seek to answer these
questions and more, by collecting and analyzing publishing
data from around the world. The non-profit effort,
organized by consultant Rdiger Wischenbart Content and
Cultural Transfers, will be fully operational by summer,
offering valuable insight into the global publishing market.
Except for a few well-documented book markets, such as the
US, the UK, or Germany, we know so little about the business of
books in the majority of non-English language markets,
Wischenbart says, about the origins of the BookMap initiative.
So with BookMap, weve created a non-profit organisation
to collect and share such information to benefit publishers,
professional educators, and also to serve as a reference to the
many international policy debates now underway.
Wischenbart says BookMap already has data on some
40 countries and a network of relationships in territories
around the world, as well as well as relationships with
educational institutions specialising in the publishing sector,
including the British Oxford Brookes University, the French
Sorbonne, and the University of Ljubljana, in Slovenia.
To learn more, check out the BookMap launch at a panel
discussion today (14 March, from 4-5pm in the Gallery
Suite, Room 2, Grand Hall Gallery (upstairs).
In addition to detailing BookMap, Wischenbart and his
panellists will offer a preview of the forthcoming Global
eBook 2017 report, highlighting key developments in
international trade book publishing in major markets in
the Americas, Europe and Asia.
To contact London Show Daily at the
Fair with your news, visit us on the
Publishers Weekly stand, 6C73.
Publisher: Joseph Murray
BookBrunch Executive Chairman: David Roche
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Reporters: Jasmin Kirkbride, Ed Nawotka
Project Coordinator: Bryan Kinney
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard
For a FREE digital trial to Publishers Weekly go to
publishersweekly.com/freetrial
Subscribe to BookBrunch via www.bookbrunch.co.uk
or email editor@bookbrunch.co.uk
London show daily
The Obamas deal has put other rights activity in the shade in the UK too
(see page 4). But there have been deals that have made headlines.
The big political deal here, albeit on a more modest scale than the
Obamas, was for a memoir by former prime minister Gordon Brown.
Will Hammond, who signed the world English deal with Jonny Geller at
Curtis Brown, said: As well as being a book of urgent importance, it
presents the life and thinking of a man of deep principle and intellect as
well as a reminder of what can be achieved by progressive politics.
Brown will also discuss personal matters, including the loss of his
daughter Jennifer within days of her birth. Proceeds will go to the
Jennifer Brown Research Laboratory, Theirworld and the Browns
charitable and public service work.
At the end of last week, Pan Macmillan announced that it was to publish
this autumn Dare Not Linger: The Presidential Years by Nelson Mandela
and Mandla Langa, also represented by Jonny Geller. Farrar, Straus will
publish in the US. The book will draw on Mandelas unfinished sequel to
his worldwide bestseller Long Walk to Freedom, as well as on notes and
archive material. Translation rights have been sold to Rosinante in
Denmark, Editions Plon in France, Quadriga in Germany, Feltrinelli in
Italy, Uitgeverij Atlas Contact in The Netherlands, FYM Forlag in
Norway, Marcador in Portugal, Aguilar in Spain and Volante in Sweden.
Simon & Schuster UK is to publish Liars Candle by August Thomas,
signed by Scribner US with a six-figure pre-empt. The thriller, by a
25-year-old former Fulbright Scholar, is set in present-day Turkey in the
aftermath of a devastating bomb attack on the US Embassy (agent Piers
Blofeld at Sheil Land).
Kirsty Dunseath at Weidenfeld signed hot US crime debut IQ by Joe Ide
in a two-book deal, describing the first novel as like Sherlock Holmes
meets The Wire. IQ, published in the US by Mulholland, has been
shortlisted for the inaugural Edgar award for best first novel, and was
chosen as one of the New York Times critics top books of 2016 (agent
Sue Armstrong at Conville & Walsh, selling on behalf of Esther Newberg
and Zoe Sandler at ICM).
At Weidenfelds sister company Orion, Francesca Pathak pre-empted
debut psychological thriller The Innocent Mistress by Elle Croft within
24 hours of receiving the manuscript. The Innocent Mistress is a game
of cat and mouse in a digital age, asking the question: If you were
being framed for murder, how far would you go to clear your name?
(agent Ariella Feiner at United Agents; UK and Commonwealth rights in
two books).
Emily Kitchin at Hodder & Stoughton pre-empted UK and
Commonwealth rights in two novels by Holly Bourne, hitherto a
bestselling YA novelist. Bournes adult debut is When the Music Stops,
follows bestselling motivational memoirist Tori, who goes into an
existential spin when she loses her best friend Dee to the marriage and
babies brigade (agent Madeleine Milburn).
Yesterday (13 March), Bantam Press (Transworld) announced that it had
bought In Shock by critical care doctor Rana Awdish, already signed by
St Martins in the US. The book is an account of Awdishs near-death
experience and transition from doctor to patient, when she made a
shocking discovery: her fellow doctors treated her without compassion,
seemingly indifferent to suffering and loss. The book follows acclaimed
and bestselling doctors memoirs such as Do No Harm and When Breath
Becomes Air. Andrea Henry at Bantam Press described it as an
incredibly powerful, dramatic read.
In childrens publishing, Usborne signed a book that is certain to get
attention: Rosie Loves Jack by debut author Mel Darbon is a love story
involving a young woman with Downs Syndrome (Sarah Stewart at
Usborne signed world English rights through agent Ben Illis).
3
 London show daily
Politics, Obamas the chatter heading into day one
On the eve of the 2017 London Book Fair, American scouts,
foreign rights associates and other insiders were still talking
about a certain recent deal, with a certain advance, for a
certain political power couple, writes Rachel Deahl. That the
book deal the Obamas landed two weeks before the fairwith
Penguin Random House buying a book from each of them for
a reported $65 million for world rightswas still the biggest
talking pointso close to the event was proof to many that this
year may prove, at least on the big book front, to be unusually
quiet. As one scout put it: Its been crickets so far this year.
This sentiment, that there were not as many big books
being discussed heading into the fair as people expected,
was shared by many. Some sources, most of whom spoke to
PW on the condition of anonymity, felt the Obamas deal,
because of its record-breaking advance, would naturally be
a topic of conversation. As an American scout noted, The
Obama books are taking up all the oxygen.
Nevertheless, other books about politics, and by politicians,
were among the hot ticket titles circulating in the run-up to
the fair. Late last week the purchase of John Kerrys
anticipated memoir was announced by Simon & Schuster;
also last week, US houses announced acquisitions for titles
by Jenna and Barbara Bush (Grand Central Publishing),
longtime Obama cabinet member Arne Duncan (Simon &
Schuster) and veteran journalist Dan Rather (Algonquin).
Given the political climatewith the Trump administration
dominating headlines in the US and other right-wing,
Teichers message to booksellers: keep the faith
As little as half a decade ago, independent bookstores in the
United States appeared to be in jeopardy. There was a panic
about ebooks, the chains and Amazon and an overreaction
took hold, says Oren Teicher, ceo of the American Booksellers
Association and VP for international affairs for the European
and International Booksellers Federation (EIBF). Together
with his colleagues from around the world, Teicher is eager
to share best practices when they meet at book fairs several
times a year, including here in London. The good news is
that people continue to want to read print and they still
want to continue to shop in unique bookstores that have
their own authentic character.
The biggest challenge, admits Teicher, remains Amazon,
which continues to command more than half of all book
sales in the US. And while you would think that Amazons
rollout of physical bricks-and-mortar stores would have him
worried, Teicher believes the threat is merely existential.
The way those stores have been configured, its obvious
they serve objectives other than selling books. Amazon does
have potential to have a serious impact on the market and
should be taken seriously, but we dont see them as a direct
threat. What independent bookstores do is quite different.
Teicher is, nevertheless, envious of European booksellers
4
Tuesday 14 March 2017
populist movements sweeping through Europeit makes
sense that non-fiction books would take centre stage at this
years fair. One American agent, who specialises in foreign
rights, said he thought most people were in two camps
about what big books would come out of London this year.
Some scouts, he said, thought extreme blockbuster fiction
would be big, because people wanted an escape from
politics. The other camp thinks analytical examinations of
certain policy trends will be hotin the vein of Hillbilly
Elegy and White Trash.
Other types of political books may also generate discussion.
One example? A memoir called The Oval, for which world
rights were sold by Aevitas Creative Management to a US
publisher just before the fair. Described as The Devil Wears
Prada inside The White House, it was being shopped along
with NDAs (with readers required to sign the document).
Chelsey Heller, who handles foreign rights at Aevitas,
said she was not surprised people were fixated on political
books. And the fixation, in her mind, is a global one, as
people in other countries are looking at the rise of Trump
in the US as a sort of touchstone for the nationalist
movements taking root in their own territories.
But for Heller, blockbuster fiction isnt the antidote for
folks looking to tune out politics; she thinks its
mindfulness and spiritual titles. She said shes noticed a
demand for these kinds of books as people look to turn
inward for a sense of stability.
ability to persuade their governments to investigate some of
Amazons business practices. Certainly that is something
we have not been able to do in the United States.
Will that change? Perhaps. In 2016, President Trump
accused Amazon founder Jeff Bezos of using his ownership
stake in the Washington Post for political purposes to save
Amazon in terms of taxes and in terms of antitrust. But
its unclear if any action will be taken.
Certainly, the contentious political atmosphere has had a
galvanising effect on booksellers and has made bookstores even
more relevant as third places, Teicher notes, where people
can meet and feel safe discussing their views, even if everyone
doesnt agree. Its a principle hed like to emphasise in the light
of the upcoming election cycle across Europe that threatens to
exacerbate political differences. Booksellers are by no means
all politically aligned, he says, but what the current politics in
the US has done is energise many of them to act even more
creatively to engage their communities in response.
Overall, the ABAs ceo wants to emphasize that, in the US
at least, independent bookstores are opening and the
industry is expanding. We have not only found a way to
survive, but to thrive. Im here in London to tell my fellow
booksellers to Keep the faith.
 London show daily Tuesday 14 March 2017

London Book Fair Briefcase 2017

By Nicholas Clee and Neill Denny in London and Rachel Deahl in New York

UK
widower musician living in an old family house on the edge of a town by the sea.
Greene & Heaton
Aitken Alexander The Life of Stuff by Susannah Walker
The Cuckoo Bird by CR Burdett UK publisher: Transworld
When Connie meets Ness, its like falling in lovebut one night a line is A memoir about how the death of the authors mother forced her to
crossed and there is a terrible crime. confront not only her own grief, but also her mothers hoarding and
Darley Anderson complex relationship with things.
The Killing Grounds by Jack Ford AM Heath
UK publisher: HQ The Truth Spectrum by Hector Macdonald
A high-octane debut thriller following high-asset recovery operator UK publisher: Transworld
Thomas J Cooper as he heads from the US to the Democratic Republic of A strategic communications consultant explores how the truth can mislead us.
Congo and uncovers a sinister plot involving the local mineral trade. Sophie Hicks
Diane Banks I Found My Tribe by Ruth Fitzmaurice
Beyond Infinity by Eugenia Cheng UK publisher: Chatto
UK publisher: Profile A memoir and love letter to her husbandwho has motor neuron disease
Wielding an armoury of inventive, intuitive metaphor and head- and can only communicate with his eyesand to her family, the natural
scratching puzzles, mathematician Eugenia Cheng draws beginners and world and the brightness of life.
enthusiasts into the heart of the mysterious, powerful concept of infinity. Janklow & Nesbit UK
Blake Friedmann Revolution by Maria Alekhina
I Know Where She Is by SB Caves UK publisher: Allen Lane
Taken meets Dear Amy and The Missing: a traumatised mother is confronted Human rights activist and former Pussy Riot member with a hallucinatory
with new evidence about her daughter, who vanished a decade before. account of her time in the Russian justice system.
Luigi Bonomi Associates JULA
Capture of Kill by Tom Marcus Hometime by Mandy Berriman
UK publisher: Macmillan UK publisher: Transworld
First novel portraying life as an M15 operative on the streets, by the author A celebration of a childs love for her mother, exploring themes of
of Soldier Spy. friendship, poverty and prejudice.
Felicity Bryan Associates Lutyens & Rubinstein
The Hunters by Kat Gordon Out of Thin Air by Anthony Adeane
UK publisher: Borough Press UK publisher: riverrun
A sweeping coming-of-age story set in British colonial Kenya in the 1920s Explores Icelands most famous criminal case, in which six people
and 30s, for fans of Out of Africa and Tigers in Red Weather. confessed to two murders they didnt commit.
Georgina Capel Madeleine Milburn
Red Sky at Noon by Simon Sebag Montefiore When The Music Stops by Holly Bourne
UK publisher: Century YA authors debut adult novel explores the chasm between the lives
Imprisoned in the Gulags for a crime he did not commit, Benya Golden is people project and the lives they actually have.
doomed to die there until, with the onset of war, he joins a penal battalion Andrew Nurnberg Associates
made up of murderers and criminals to fight the Nazis. Sweetpea by CJ Skuse
Conville & Walsh UK publisher: HQ
Everything I Know About Love by Dolly Alderton Authors first adult thriller, about a young woman with a killer secret.
UK publisher: Fig Tree PEW Literary
A memoir interspersed with recipes, lists and other vignettes Codename Villanelle by Luke Jennings
Somewhere between the work of Lena Dunham and Nora Ephron. UK publisher: John Murray
Curtis Brown Shortly to be an eight-part television drama.
The Word Is Murder by Anthony Horowitz PFD
UK publisher: Century Return of the Tribes by Simon Schama
The first in a new series of detective novels that both celebrate and A definitive look at the worlds fractured societies, charting tribal politics
subvert the whodunnit genre. and nationalism and their rise and fall from Ancient Rome to Donald Trump.
David Godwin Associates Sheil Land
The Melody by Jim Crace Another Womans Husband by Gill Paul
UK publisher: Picador UK publisher: Headline
Follows his Man-Booker shortlisted Harvest, and tells the story of Alfred Busi, a Continues on page 8 g

6
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 London show daily Tuesday 14 March 2017

f Continued from page 6 Sloan (Mr Penumbras 24-Hour Bookstore) follows a workaholic who,
A contemporary love story through the parallel lives of Princess Diana when she finds herself responsible for the fate of her local bakery,
and Wallis Simpson. encounters a secret place where food and technology meet.
United Agents Sanford J Greenburger Associates
The Innocent Mistress by Elle Croft Gather the Daughters by Jennie Melamed
UK publisher: Orion US publisher: Little Brown, July
If you were being framed for murder, how far would you go to clear your name? This debut novel is set on a remote island, and is narrated by a group of girls who
Watson, Little start questioning the rules that bind them, and the island that constrains them.
The Fall of the House of Byron by Emily Brand ICM Partners (handled by UK-based Curtis Brown)
UK publisher: John Murray Manhattan Beach by Jennifer Egan
The narrative history of Lord Byrons ancestors, who were just as eccentric US publisher: Nan Graham, October
and drawn to scandal as the famous poet. The newest novel from the Pulitzer Prizewinning author is, CB says, a
WME noir-ish thriller set in 1930s and 40s New York.
Operation Chaos by Matthew Sweet Uncommon Type by Tom Hanks
UK publisher: Picador US publisher: Knopf, September
The Americans who refused to fight in Vietnam, and the CIA operatives The Academy Awardwinning actors short story collection is built,
who followed them to Sweden. loosely, around photographs of typewriters from his personal collection.
Wylie Agency Inkwell Management
Dear Ijeawele, or a Feminist Manifesto in Fifteen Suggestions by The Silent Corner by Dean Koontz
Chimamanda Adichie US publisher: Bantam, June
UK publisher: 4th Estate The first in a new series from the bestelling author follows an FBI agent
How to empower a daughter to become a strong, independent woman. named Jane Hawk out to avenge her husbands suspicious death.
Bonfire by Krysten Ritter

US
Baror International
The Rise and Fall of Adam and Eve by Stephen Greenblatt
US publisher: Norton, September
The Pulitzerwinning author examines how the brief tale of Adam and Eve in
the King James Bible came to shape longstanding conceptions of human origin.
Elyse Cheney Literary Associates
The Future Is History: How Totalitarianism Retook Russia by Masha Gessen
US publisher: Riverhead, fall
Gessen (The Man Without a Face) follows four people born at a time
when Russia seemed to be on the brink of democracy, but who instead
saw their country retreat to a devastating new strain of autocracy.
The Clegg Agency
My Year of Rest and Relaxation by Ottessa Moshfegh
US publisher: Penguin Press, fall 2018
Set against the backdrop of the 2000 presidential election, this novel,
from a Booker nominee, follows a young woman who attempts a year-
long hibernation with the help of an off-the-grid therapist.
DeFiore & Company
The Pisces by Melissa Broder
US publisher: Random/Hogarth, summer 2018
The debut novel from the poet and essayist follows a doctoral student
who, while writing her dissertation, finds herself spending her nights on
the beach, falling for a merman.
Foundry Literary + Media
Gracious by Kelly Williams Brown
US publisher: Rodale, April
Brown (Adulting) spoke to people across the countryfrom everyday folks to
celebritiesabout being gracious, or, as Foundry put it, how to practise the
arts of kindness, thoughtfulness, good manners, humanity, and basic decency.
The Gernert Company
Sourdough by Robin Sloan
US publisher: FSG, September
US publisher: Archetype, November
Ritter (star of such shows as Jessica Jones) offers up a work of psychological
suspense in which, Inkwell says, a woman is forced to confront her past
in the wake of small-town corruption.
Janklow & Nesbit (handled by Cullen Stanley
International)
South and West by Joan Didion
US publisher: Knopf, March
In these extended excerpts from the authors notebooks, readers get a glimpse,
the agency explains, into the mind and process of a legendary writer.
Fresh Complaint: Stories by Jeffrey Eugenides
US publisher: FSG, October
The debut short story collection from the Pulitzer Prizewinning author
explores topics he has traversed in his celebrated novels, J&N says, such
as the crises of adolescence and what it means to be an American in
our times.
Jean V Naggar Literary Agency
Ecstasy: A Novel of Alma Mahler by Mary Sharratt
US publisher: HMH, spring 2018
A work of historical fiction about the wife of Gustav Mahler; Alma was a
muse to some of the early 20th centurys most famous artists, including
painter Gustav Klimt and poet Franz Werfel.
Writers House
Ziggy by Lexi Freimann
US publisher: Ecco
A debut novel from an Australian with an MFA from Columbia, Ziggy is
a literary satire about an Australian schoolgirl coming of age and
confronting the maze of identity politics, intersectional feminism and
technology.
A Peoples History of the Vampire Uprising by Raymond Villareal
US publisher: Little, Brown, 2018
This debut novel delivers an oral history of a rising vampire race. The
book, which has already been optioned for film (by Fox), features a range
of narratives from the CDC to a Vatican librarian to TMZ.

8
 LONDON RIGHTS MARKETPLACE
Friday 21 OctOber 2016 FrankFurt shOw daily

Bonniers CEO Dalborg aims for $100m

PWs New Rights
The top 54 companies in the global book business generate advertise titles for which they are looking to sell

Marketplace
approximately 60 billion euros in value each year, according
to the latest report of the top global publishers compiled
by Ruediger
rights in different territories. All an interested
party needs to do is to use the contact informa-
This is the Wischenbart,
launch of a the new Vienna-based
PW feature, publishing
the PW tion provided in each display to learn more about
consultant, writes Ed Nawotka.
Rights Marketplace. The goal of the following a book. The inaugural Marketplace features 29
You now see that publishing is a global business and
pages
there isisa to give ofpublishers
process stabilisation the opportunity
driven to
by consolidation
books from a range of publishers.
driven by the big companies absorbing the smaller ones,
Wischenbart said in his introduction to a staged interview
with Jacob Dalborg, CEO of Bonnier, Mine, as Not partHers
of the Fairs Black Calm
Business Club.
Bonnier is one of the worlds largest conglomerates
Betsy Anne in Dalborg (left) and Wischenbart Kristin Marja Baldursdottir
publishing, comprising more Ingram/Baker & Taylor/Amazon
than 250 brands in 14 are really in a good place. We have Forlagid Publishing
business models that
ISBN 978-1500527303 ISBN 978-9935-11-659-8
different countries. You may not know it, but Bonnier work.We sell stories, that is what we sellwhether that is in
a Swedish conglomerateis actually
Katie the third
once believed largest
that her and print, digital or audio, it doesnt matter,
The Icelandic asislong
winter white,asand
there
the is a
Jasons intense love was impervious
publisher in Germany, Wischenbart pointed out.
to harm, but a wave of vividly
buyer for that. It is not a cold walk penetrates ones bones. A story
in the park. The core
of love, friendship and communities
of what
Dalborg said that he wanted peopleseems
erotic dreams to think of Bonniers
to foretell an we do, the literature itself, thatthere
hold is a demand
you for it and
in their embrace or you
unwelcome intrusion into their perfect depending on the placecrush you in
German imprints before they thought of the parent
world. Do these visions seek to warn
have to pay for it. their iron grip.
companys brand: Ullsteinher? Buchverlage,
Peek into the Piper
minds Verlag,
of a wife, Asked about the UK and US markets,
Baldursdottir is onewhere the company
of Icelands most
Carlsen Verlag, et al. But,ahe
husband, and thethroughout
emphasised possibility of the
the has launched new highly (Pocket
bookstores acclaimedShop)
novelists.
and imprints
Worldwide Rights Available Worldwide Rights
ultimate betrayal.
hour long interview, Bonnier really has the closeness of (Manilla and Little B, among others), and has expressed
betsy@betsyannebooks.com vala@forlagid.is; sif@forlagid.is
the family. Our emphasis is on people: finding, training and
www.betsyannebooks.com
ambitions to raise revenue from $40 million a year to as
www.forlagid.is
retaining, the right people. much as $100 million, Dalborg conceded: It is a big goal.
Discussing the companys book strategy, Dalborg said: Our growth will be organic and it will take time, but we
Compared to other businesses, not only in media, books will get there.
A STRANGE BEGINNING TREAD SOFTLY ON MY
Book 1 of the BYRON DREAMS
Brexit Gretta Curran Browne
GCB Publications
in academic publishing who were European,
Gretta Curran Browne
31,000 European researchers and 125,000 European
GCB
plus the
Publications
f Continued from page 1 ISBN 978-0-9932205-1-7 students in the UK. The studentsISBN alone 978-0-9955582-4-3
were an important
CEO Richard Mollet, now head ofwhen
Beginning Government Relations
he is 10 years old, market for academic publishers. Based on He added
the true that
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at the RELX Group, and we alsojoin George Gordon
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Robinson, publishers Wiley had surveyed taught nothing about Ireland
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who of
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Magazine) could be
him.
slashed by the EU to make a political point. Swiss funding
mail@grettacurranbrowne.com mail@grettacurranbrowne
was cut after the EU disagreed with it over restricting
To contact Frankfurt show daily at the
www.grettacurranbrowne.com www.grettacurranbrowne.com
numbers of Croatian researchers.
Fair, please visit us at the Publishers Fisher pointed out that the cabinet changes since 23 June,
Weekly stand in Hall 6.0, D42 the date of the referendum, had resulted in publishing
The Art of War for The Godfather
being split across at least three government departments,
Publisher: Joseph Murray Football bringing about an extra level of complexity Notebook in the task of
BookBrunch Publisher: Tobias Steed
Christos Clee,
Charalambopoulos
lobbying on behalf of the bookFrancis industry.Ford Coppola
Editors: Andrew Albanese, Nicholas Neill Denny
Reporters: Jasmin Kirkbride, Ed Nawotka S.A
DIAVLOS Regan Arts
ISBN 978-960-531-360-9 ISBN 978-1-68245-074-1
Project Coordinator: Bryan Kinney
France next year
Author,-journalist in Brussels, France is to the Guest ofInHonour at the 2018
The Godfather Frankfurt
Notebook, Coppola
Layout and Production: Heather McIntyre
Strasbourg and Athens- using reveals how heconference
transformedyesterday,
Mario
Editorial Coordinator (UK): Marian Book Fair (11-15 October). At a press
examples andSheil
case Tankard
studies from Puzos novel into an iconic lm for
all around the world, presents
Prime Minister Manuel Valls said of France and Germany:
the ages. Complete with Coppolas
to Publishers
For a Free digital trialsimilarities weekly
of football golevels
with two to culture, and especially handwritten
the culturenotes
of theonbook, has always
the books
of war, both inside and outside the pages, never-before-told
been central in [the] exceptional [relationship]stories,
betweenand
publishersweekly.com/freetrial
pitch. Strategies and tactics, the exclusive photographs, it is a stunning
economics, the strong and weak
the two countries. French is the second most translated
reproduction of the notebook he used
subscribe to bookbrunch
World via www.bookbrunch.co.uk Worldwide
language Rights
in Germany, and German is athe third most
features of the teams, etc. on set to direct masterpiece.
or email editor@bookbrunch.co.uk translated language in France.
info@diavlosbooks.gr Contact: internationalrights@reganarts.com
http://www.diavlos-books.gr www.ReganArts.com | Ideas that last a lifetime.

3
 LONDON RIGHTS MARKETPLACE
Friday 21 OctOber 2016 FrankFurt shOw daily

Bonniers CEO Dalborg aims for $100m

LEGEND OF THE COCO Budapest Romance
PALMS RESORT
The top 54 companies in the globalRita book business generate
DOrazio Rozsa Gaston
approximately 60 billion euros in Wastelandvalue eachPressyear, according CreateSpace
ISBN 9781681111407 ISBN 978-1-4801-4063-9
to the latest report of the top global publishers compiled
by Ruediger Wischenbart,The theCoco
Vienna-based
Palms Resort publishing
was built on A Hungarian American woman and
land, which once belonged to royalty.
consultant, writes Ed Nawotka. a Dutchman, both recovering from
Destroyed in 1992 by Hurricane Iniki, loss, discover each other against the
You now see that publishing
the property is aremains
globalabandoned.
business and bewitching backdrop of Budapests
Head of thedriven
there is a process of stabilisation Heritage byAssociation,
consolidation thermal spa baths. Richly descriptive,
Kanoa Kahala, is relentless in ghting this thoughtful romance brings alive
driven by the big companies to keepabsorbing the smaller
foreign buyers ones,
at bay, until the beauty and mystery of Budapest,
Abby Parker arrives
Wischenbart said in his introduction to ainstaged
Kaua`i,interview
which with extensive cultural and historical
Worldwide Rights
has awakened the spirit of years past. detail.
with Jacob Dalborg, CEO of Bonnier, as part of the Fairs
ritad@ritadoraziobooks.com rgaston@optonline.net
Business Club.
www.ritadoraziobooks.com www.rozsagaston.com
Bonnier is one of the worlds largest conglomerates in Dalborg (left) and Wischenbart
publishing, comprising more than 250 brands in 14 are really in a good place. We have business models that
Sense of Touch I, Who Did Not Die
different countries. You may not know it, but Bonnier work.We sell stories, that is what we sellwhether that is in
a Swedish conglomerateis actually the third largest print, digital or audio, it doesnt matter, as long as there is a
publisher in Germany, Wischenbart Rozsa Gaston
pointed out. buyer for that. It is not a walkZahed inHaftlang
the park.& TheNajah Aboud
core of what
Renaissance Editions with Meredith May
Dalborg said that he wanted people to think
ISBN 978-0-9847906-2-3 of Bonniers we do, the literature itself, there is aRegan demand Arts for it and you
German imprints before they thought of the parent have to pay for it.
companys brand: UllsteinABuchverlage,
romance and an interesting
Piper Verlag,novel Asked about the UK and Iran,
USMay 1982During
markets, wherethethebloodiest
company
about a little-known French queen. battle of one of the most brutal wars
Carlsen Verlag, et al. But,.he . a emphasised
striking story ofthroughout
heartache andthe has launched new bookstores (Pocket Shop) and imprints
of the 20th century, Najah, a 29-year-
hour long interview, Bonnier forbidden
reallylove, of women
has in the 15th
the closeness of (Manilla and Little B, among old wounded
others),Iraqi
andconscript, came
has expressed
century French court, who fought face to face with a 13-year-old Iranian
the family. Our emphasis with is onpassion
people: andfinding, training
determination for and ambitions to raise revenue from
child $40
soldier whomillion a yeartoto
was ordered killas
retaining, the right people. what they wanted. --Historical Novel much as $100 million, Dalborg him. Instead, the boyIt
conceded: committed
is a bigangoal.
Society astonishing act of mercyan act that
Discussing the companys book strategy, Dalborg said:
Worldwide Rights Our growth
Worldwide will be organic
Rights
ISBN 978-1-68245-011-6
and later
decades it will take
would time,
save but life.
his own we
Compared to other businesses, not only in media, books
rgaston@optonline.net will get there.
Contact: internationalrights@reganarts.com
www.renaissanceeditions.com www.ReganArts.com | Ideas that last a lifetime.

Brexit Intuition
Language of the Soul
in academic publishing who were European,Rage
Terminal
31,000 European researchers and 125,000 European
plus the

f Continued from page 1 students in the UK. The students alone were an important
Tyger Kahn A.M. Khalifa
CEO Richard Mollet, now head of Government
Bookbaby Relations market for academic publishers. He added that 80% of
Mavenhill
ISBN 9781483572529
at the RELX Group, and also included Andy Robinson, publishers Wiley had surveyedISBN were978-1940387000
worried about the
Senior Vice President andThe
Managing Director for Society
author shares her inspiring
impact of Brexit on openAaccess. breathtaking international thriller
Services at John Wiley. story of 13 years of training with a Robinson pointed out that although
for our non-EU
times. From states such
critically
Robinson said that the Grand
most master and Tibetan monks in
significant negative impact
eastern meditation techniques, to her
as Switzerland could tap acclaimed
into EU Egyptian novelist, A.M.
academic funding
Khalifa, TERMINAL RAGE is fast
such as
of Brexit could be the status of the 10% of
subsequent near deathpeople working
experience the Horizon 2020 programme, such funding could
paced, intricate and completely be
and return to Judaism: Auras, slashed by the EU to make unpredictable.
a political Masterfully
point. Swiss written and
funding
clairvoyance, reincarnation, dream interwoven with shocking brutality
interpretations, the power of the was cut after the EU disagreed with it
and poignant over restricting
emotions.
To contact Frankfurt show daily at the
2017 Tyger Kahn
Psalms and more.
All foreign rights available.
numbers of Croatian researchers.
Fair, please visit us at the Publishers
tygerreadings@gmail.com Fisher pointed out that the cabinet changes since 23 June,
editor@mavenhill.com

Weekly stand in Hall 6.0, D42

www.tygerkahn.com www.amkhalifa.com
the date of the referendum, had resulted in publishing
being split across at least three government departments,
Publisher: Joseph Murray THE JESUS THIEF: bringing about an extra levelTHE COMPETITION
of complexity in the task of
BookBrunch Publisher: Tobias Steeda thriller
lobbying on behalf of the book industry.
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
J R Lankford Caroline Miley
Reporters: Jasmin Kirkbride, Ed Nawotka
Great Reads Books Australian eBook Publisher
Project Coordinator: Bryan Kinney ISBN 978-0971869479 France next year ISBN 9781925516333
France is to the Guest of Honour at the 2018 Frankfurt
Layout and Production: Heather McIntyre
Years ago a psychic said its not yet MrAt
Turner meets North andyesterday,
South:
Editorial Coordinator (UK): Book Fair (11-15 October). a press conference
time Marian
for theseSheil Tankard
books. This is great Edward Armiger is an impoverished
stuffBooklist, starred review.
Prime Minister Manuel Valls said of France and
painter in Georgian London who
Germany:
to Publishers
For a Free digital trialRecently weekly
the authors husband go to culture, and especially enters
the culture ofAcademy
a Royal the book, has always
competition
dreamed it was selling all over hoping to [relationship]
been central in [the] exceptional make his name, between
but a
publishersweekly.com/freetrial
London. It isnt the rst [cloning commission that pitches him into the
Jesus]
the two countries. French is the second most translated
subscribe to bookbrunch vianovel, but it is the best
www.bookbrunch.co.uk language in Germany, and
gritty world of Luddites, food riots and
German is the third most
Relevant Mag. Three riveting sequels, woollen mills puts his art, love and
or email
Nearly editor@bookbrunch.co.uk
all rights available
a 4th underway. Its gotta be time.
Worldwide Rights
translated language in France.
career in jeopardy.
greatreadsbooks@earthlink.net cmiley22@gmail.com

3
www.greatreadsbooks.com www.carolinemiley.com
 LONDON RIGHTS MARKETPLACE
Friday 21 OctOber 2016 FrankFurt shOw daily

Bonniers CEO Dalborg aims for $100m

So Long Constipation, Jerusalem Ablaze
Part 1
The top 54 companies in the Written global book business
by Katarina generate
Nolte Orlando Ortega-Medina
approximately 60 billion euros Published by Katarina
in value each year, Nolte, Inc.
according Cloud Lodge Books
(CreateSpace) ISBN 9781526202536
to the latest report of the top global publishers compiled
by Ruediger Wischenbart,Ask the Vienna-based
yourself: Why am Ipublishing
constipated? Collection of 13 short stories
consultant, writes Ed Nawotka. If the quick x doesnt work for you, about sexuality, death, obsession
consider examining the lesser-known and religion. Each story contains
You now see that publishing causes of is a global and
constipation business and
eliminate characters who are awed individuals
them. It worked
there is a process of stabilisation drivenforby
meconsolidation
:) trying their best to make sense of
their lives. Gripping and intriguing,
driven by the big companies absorbing the smaller ones, the stories are sometimes bleak,
Wischenbart occasionally violent, and often
Katarina Noltesaid in his introduction to a staged interview Foreign Language, Audio
[ISBN: 978-1489577900] Book, and Adaptation Rights
possessed of a dark humour.
with Jacob Dalborg, CEO of Bonnier, as part of the Fairs
Email: katarinanolte@gmail.com; Phone: (424) 266-2150; William Campos, Managing Director: +44 (0) 207 225 1623
Business Club.
Website: katarinanolte.com www.cloudlodgebooks.com
Bonnier is one of the worlds largest conglomerates in Dalborg (left) and Wischenbart
publishing, comprising more than 250 brands in 14 are really in a good place. We have business models that
Tatianas Day Lavender Blue and the
different countries. You may not know it, but Bonnier work.We sell stories, that is what we sellwhether that is in
Faeries of Galtee Wood
a Swedish conglomerateis actually the third largest print, digital or audio, it doesnt matter, as long as there is a
publisher in Germany, Wischenbart Katia Perovaout.
pointed buyer for that. It is not a walk inSteve Richardson
the park. The core of what
iUniverse Impossible Dreams Publishing
Dalborg said that he wanted people
ISBN to think of Bonniers
978-1-4917-9153-0 we do, the literature itself, there is a demand
ISBN 978-0978642242 for it and you
German imprints before they thought of the parent have to pay for it.
companys brand: UllsteinMoscow. January 25,
Buchverlage, 1990.
Piper Shy
Verlag, Asked about the UK and ItsUS
hard to imagine
markets, a fairytale
where the being
company
student Tatiana Dobrova meets so gripping you cant put it down.
Carlsen Verlag, et al. But,ambitious
he emphasised throughout
and charismatic the
Oleg Isaev. has launched new bookstores (Pocket Shop)
--San Francisco Book Reviewand imprints
hour long interview, Bonnier Their romance begins
really has theduring the of
closeness (Manilla and Little B, among others), and has expressed
collapse of the Soviet Union. The story The paranormal elements are
the family. Our emphasisofisaon people:
young woman finding,
trying totraining
nd her and ambitions to raise revenue from $40
engaging, million
as are a year to as
the books
retaining, the right people. strength amid turmoil and changes, reassuring,
much as $100 million, Dalborg simple morals
conceded: It isofaloyalty
big goal.
temptation and betrayal, caused by and doing anything for your friends.
Discussing
Worldwide rightsthe companys book strategy, Dalborg said:
her husbands rapid rise to wealth. Our growth will be organic
Foreign and Book
--Kirkus it will take time, but we
Review
Compared to other
katiaperova1@gmail.com businesses, not only in media, books will get there.
Quixote1818@aol.com
www.tatianasday.com www.impossibledreamspub.com

Brexit SEMBLANCE OF GUILT in academic publishing who wereStolen European,

31,000 European researchers and 125,000 European
plus the
Light
f Continued from page 1 students in the UK. The students alone were an important
Claudia Riess Claudia Riess
CEO Richard Mollet, now headClaudiaof Government Relations
Riess, Author market for academic publishers.Claudia He added that
Riess, 80% of
Author
ISBN 9781480827851
at the RELX Group, and also included Andy Robinson, publishers Wiley had surveyed ISBN were 9781480820661
worried about the
Senior Vice President andEllen
Managing Director for Society
Davis, a recently divorced local
impact of Brexit on open STOLEN access. LIGHT is a suspense set in
Services at John Wiley. reporter, is set up as the murderer Robinson pointed out that although
the art non-EU
world involving thestates
Italian such
Robinson said that the of a new friend. With the help of a
most significant negative impact
detective on the case, Pete Sakura,
as Switzerland could tap into Renaissance, the Cuban Revolution,
EU academic funding such as
as well as a contemporary love story.
of Brexit could be the status of
she ndsthe 10%inof
herself people
a race working
against the Horizon 2020 programme, such funding could be
time to uncover the evidence that will slashed by the EU to make a political point. Swiss funding
save her.
was cut after the EU disagreed with it over restricting
To contact Frankfurt show daily at the
All Rights Available All Rights available
numbers of Croatian researchers.
Fair, please visit us at the Publishers
Claudia Riess, claudiariess.w@gmail.com Fisher pointed
Claudia Riess, out that the cabinet changes since 23 June,
claudiariess.w@gmail.com

Weekly stand in Hall 6.0, D42

claudiariessbooks.com claudiariessbooks.com
the date of the referendum, had resulted in publishing
being split across at least three government departments,
Publisher: Joseph Murray Insurmountable Odds bringing about an extra level of The Birdcatcher
complexity in the task of
BookBrunch Publisher: Tobias Steed
lobbying on behalf of the book industry.
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
Martin A. Saunders Walter Joseph Schenck, Jr.
Reporters: Jasmin Kirkbride, Ed Nawotka
Mak Studios Limited CreateSpace
Project Coordinator: Bryan Kinney ISBN 9780993406706 France next year ISBN 13: 978-1523227709
France is to the Guest of Honour at the 2018 Frankfurt
Layout and Production: Heather McIntyre
When the Sulranian Empire aAt
brilliantly
Editorial Coordinator (UK): MariananSheil Tankard Book Fair (11-15 October). a pressexistential experience.
conference yesterday,
encounters implacable foe, whose . .Schencks descriptions of war are
numbers defy all odds and can
Prime Minister Manuel Valls said of France and Germany:
remarkable. -- Kirkus Book Reviews
to Publishers
For a Free digital trialdestroy weekly
worlds without goNelsen
pause, to culture, and especially the culture of the book, has always
Rybek nds himself an unwitting Schenck [relationship]
been central in [the] exceptional weaves an odyssey that is
between
publishersweekly.com/freetrial
companion to Andreya, a replica with both startlingly unique and . . . . has
no idea
the two countries. French is the second most translated
subscribe to bookbrunch viawho she is, in an Empire that
www.bookbrunch.co.uk language in Germany, and
delivered a tantalizing and startlingly
German
nds itself facing a war that is lost original work.is the third most
or email
Worldwide editor@bookbrunch.co.uk
rights
before it has even begun...
Worldwide Rights
translated language in France.
-- Publishers Weekly Featured Author
dominium@maksw.com Walter_schenck@comcast.net

3
http://www.maksw.com 904-268-3742
 LONDON RIGHTS MARKETPLACE
Friday 21 OctOber 2016 FrankFurt shOw daily

Bonniers CEO Dalborg aims for $100m

Big & Fabulous The Lobby
A Plus Size Warrior
The top 54 companies in the global book business generate
approximately 60 billion euros inRandi valueM. Sherman
each year, according Randi M Sherman
Friesen Press Friesen Press
to the latest report of the topISBN global publishers
978-1-4602-9999-9 compiled ISBN 978-1-4602-7811-6
by Ruediger Wischenbart, the Vienna-based publishing
Imperfect, impervious and improving, Honored with 17 awards for humor.
consultant, writes Ed Nawotka. Brenda Cankles is an unlikely heroine. San Franciscos juiciest hotel lobby
You now see that publishing Unfazed by is the
a global
enduringbusiness
censure ofand offers the perfect place to witness the
society, shedriven
there is a process of stabilisation is determined to realize
by consolidation comings, goings and most comedic
the fabulous life she believes is her intersections of staff, long-term
driven by the big companies absorbing
destiny. The emphasis the is
smaller ones,
on positive residents & eclectic guests. Featuring
self image, withto
Wischenbart said in his introduction noashortage
staged ofinterview
acidly over 50 stories all transpiring in a
hilarious accounts about living life single 24 hour period and intersecting
with Jacob Dalborg,
International/ CEO
Foreign Rights
Film and Stage Rights
of Bonnier,
inside as part body.
a big and fabulous of the Fairs All rights and options
available
in 1 location, The Lobby.
Business Club.
info@randimshermanbooks.com info@randimshermanbooks.com
Bonnier is one of the worlds largest conglomerates in
www.randimshermanbooks.com Dalborg (left) and Wischenbart
www.randimshermanbooks.com

publishing, comprising more than 250 brands in 14 are really in a good place. We have business models that
different countries. You may not know it, but Bonnier work.We sell stories, that is what we sellwhether that is in
a Swedish conglomerateis actually the third largest print, digital or audio, it doesnt matter, as long as there is a
publisher in Germany, Wischenbart The pointed
Habitant out. buyer for that. It is not a walkPa nnas
in the park.Prophecy
The core of what
Dalborg said that he wanted people to think of Bonniers we do, the literature itself, there is a demand for it and you
German imprints before they thought P. L.ofWeaver
the parent have to pay for it. Gael Whelan
Peaceables House Press Partridge Publishing House
companys brand: Ullstein Buchverlage, Piper Verlag, Asked about the UK and US markets, where the company
ISBN 97809969551401 ISBN 978-1482876369
Carlsen Verlag, et al. But, he emphasised throughout the has launched new bookstores (Pocket Shop) and imprints
hour long interview, Bonnier Sarah,really
a collegehasfreshman,
the closeness
meets of (Manilla and Little B, among others),
The birth of twoand has
white lionexpressed
cubs will
some unusual coworkers in the bring prosperous times, but their
the family. Our emphasiscampus is on people: finding, training and
library. Malfunctioning ambitions to raise revenue from
death will$40
leadmillion a yearIts
to catastrophe. to as
retaining, the right people. elevators and peculiar perceptions pull much as $100 million, Dalborg conceded:
up to Jonathan, Itand
Tracey is atheir
bigwild
goal.
Sarah and her friends into a centuries companions to advert disaster!
Discussing the companys book strategy,
old mystery and causeDalborg
Sarah to said: Our growth will be organic and it will take time, but we
Compared to other businesses, reconsider notheronly in media,
assumptions andbooks will get there.
perceptions about who or what makes
Rights and translation Worldwide rights
opportunities.
a good friend.

Brexit
plweaver@thehabitants.com gaelwhelan.com
thehabitants.com inoracademic publishing who were European, plus the
gaelwhelan.net
31,000 European researchers and 125,000 European
f Continued from page 1 students in the UK. The students alone were an important
CEO Richard Mollet, now head of Government Relations market for academic publishers. He added that 80% of
In LovesAndyTime
at the RELX Group, and also included Robinson,
Senior Vice President and Managing Director for Society
More Marketplaces to Come
publishers Wiley had surveyed were worried about the
impact of Brexit on open access.
Services at John Wiley. Lilian White. Robinson pointed
Additional RightsoutMarketplaces
that although non-EU
will states such
Robinson said that the most significantSBPRA.
negative impact asappear
Switzerland could tap into EU academic funding such as
ISBN 978-1-60693-719-8 in PW Show Dailies at the Bologna
of Brexit could be the status of the 10% of people working the Horizon 2020 programme, such funding could be
Childrens Book Fair (April 3-6), BookExpo
Sweeping through the 1800s, through slashed by the EU to make a political point. Swiss funding
the despair of poverty and the glory (May
was 31-June
cut after the EU 2),disagreed
and thewithFrankfut Book Fair
it over restricting
To contact Frankfurt show daily at the
of hope, through Fort Worth and
Texas to war-torn France and Europe, (Oct. 11-15).
numbers of Croatian researchers.
Fair, please visit us at the Publishers
from Brisbane Town to New York City,
the relationships in In Loves Time are
For information
Fisher pointed out that ontheadvertising, contact
cabinet changes since 23 June,
Weekly stand in Hall 6.0, D42similar to yours and as ageless as the Joe
the Murray
date at jmurray@publishersweekly.com.
of the referendum, had resulted in publishing
aborigines dreamtime. being split across at least three government departments,
London Rights and Foreign.
Publisher: Joseph Murray bringing about an extra level of complexity in the task of
BookBrunch Publisher:
www.sbpra.com Tobias Steed
lobbying on behalf of the book industry.
Editors: Andrew Albanese, Nicholas Clee, Neill Denny
www.lilianwhite.com

Reporters: Jasmin Kirkbride, Ed Nawotka

Project Coordinator: Bryan Kinney

France next year
France is to the Guest of Honour at the 2018 Frankfurt
Layout and Production: Heather McIntyre
Editorial Coordinator (UK): Marian Sheil Tankard Book Fair (11-15 October). At a press conference yesterday,
Prime Minister Manuel Valls said of France and Germany:
For a Free digital trial to Publishers weekly go to culture, and especially the culture of the book, has always
publishersweekly.com/freetrial been central in [the] exceptional [relationship] between
the two countries. French is the second most translated
subscribe
Publishersto bookbrunch
Weeklys via www.bookbrunch.co.uk
Global Rights Report is the most comprehensive source of information
language for theand
in Germany, worldwide
German book rights
is the marketplace.
third most
or email editor@bookbrunch.co.uk
Join 100,000 E-newsletter subscribers to receive free international
translated language news rights
in France.
and important updates for the Global Rights Marketplace.
Book Rights Deals | International Best Sellers | Key Player Interviews | Country Close-Ups
Visit www.GlobalRightsReport.com to join today! 3
 Tuesday 14 March 2017
Welcome to LBF
Welcome to the London Book
Fair 2017, springs biggest
gathering of the global book
industry, writes Jacks Thomas.
Here in our cosmopolitan
capital city, one of the creative
capitals of the world, we are
delighted to welcome more than
25,000 delegates from more
than 130 countries, and look
forward to the huge buzz of
seeing so many creative minds in Jacks Thomas
one place, all passionate about
bringing the written word to a worldwide audience.
This is a year of anniversaries2017 will mark 20 years of Harry
Potter, 160 years since Joseph Conrads death, 350 years since
Jonathan Swifts birth and 200 years since Jane Austens death.
Well have events to mark all these anniversaries throughout the
Fair and during London Book & Screen Week, our public-facing
celebration of books and the films, television and virtual worlds
they have inspired, which runs from 13th to 19th March.
Our Market Focus country this year is Poland. It is a
fascinating country with both a great literary heritage and a
lively contemporary literary scene, and the Polish
programme promises to inspire, inform and entertain. With
our partners at the Publishers Association and the British
Council, we are delighted to bring such a wonderful line-up
of Polish publishers and authors to the Fair this year.
Authors are, of course, at the heart of the London Book
Fair, and we are thrilled to welcome as Authors of the Day this
year Roddy Doyle, Olga Tokarczuk, Andrzej Sapkowski and
Michael Morpurgo. Additionally, David Nicholls is our first
London Book & Screen Week ambassador.
We are also looking forward to celebrating the UK-India Year of
Culture with our Spotlight on India. Well be hosting a delegation
of authors from the prestigious Sahitya Akademi, plus well have a
programme of author talks and professional seminars aimed at
celebrating the special bond that exists between our two countries.
Our 200-strong events programme goes from strength to
strength, and this year we are proud to launch our new seminar
stream dedicated to inclusivity: Pride not Prejudice. This follows
on from the Building Inclusivity in Publishing conference we
launched in November 2016; it is great to continue the dialogue
and debate aimed at making the publishing industry more
representative of wider society in both writing and staffing.
Also new for 2017 is the launch of the CAMEO Awards, in
partnership with the Publishers Association, which takes place
during London Book & Screen Week. The Awards aim to bring
attention to the power of the book as an inspiration for plays,
films, TV and games. The prizes will be awarded in four categories:
book to film, book to game, book to stage and book to TV.
Thank you for attending the London Book Fair 2017! We
hope that you enjoy everything that the Fair has to offer.
Jacks Thomas is director of LBF.
London show daily
New look BookExpo
With Americas five-day annual book meeting less than three
months away, organizers have released more details about
plans to reimagine the show, writes Jim Milliot. Last fall,
ReedPOP announced that BookExpo America has been
renamed BookExpo and will begin with a full day of meetings
and other events on Wednesday 31st May, with 1st and 2nd
June to feature full days of exhibits. BookCon, the consumer
event, will be on 3rd and 4th June.
According to ReedPOP officials, BookExpo has been recrafted
to provide global book professionals with a focused environment
to discover emerging authors and the next blockbuster titles,
engage with the worlds most influential publishers and learn
from industry leaders in conference and networking sessions.
With BookExpo and BookCon returning to New York in 2017
after a one-year trip to Chicago, BookCon is back to a two-day
event with as many as 25,000 readers expected to attend. Brien
McDonald, event director of both BookExpo and BookCon,
says BookCon continues to tweak its programming to connect
fans, brands and authors through face-to-face interactions,
panel discussions, social media, sales and premiums.
According to McDonald, the role of the consumer is an
overarching theme of both BookExpo and BookCon, as the events
will explore new methods for engaging readers in all markets.
Virtually every industry has been disrupted by changes that
put the consumer in the driver seat, says McDonald. The wall
between creator and consumer is growing thinner, which means
face-to-face events like BookExpo and BookCon must embrace
everyone in the ecosystem and give them a seat at the table.
Although this years BookExpo trade floor will only be two
days, ReedPOP is betting that by focusing the event on high value
attendees (booksellers, librarians, retailers, rights professionals
and media)and content that is driven by business meetings, an
innovative conference and author interactions, publishers and all
attendees will have a more productive experience.
As part of the remade conference schedule, the Global
Market Forum will have a new vision. In order to appeal to a
wide array of professionals, McDonald explains, the conference
will no longer focus on one country. Instead it will address the
diverse topics and relevant issues that define the new publishing
universe in multiple markets. The new forum, McDonald says,
is designed to create meaningful connections through insightful
panel discussions and networking opportunities.
The full-day conference will be Wednesday 31st May and
feature sessions on emerging markets, translation, new
international copyright regulations and more. Confirmed sessions
include Reaching the Arab World: The Sharjah Publishing City
Initiative and The Else Ferrante Model: How Independent
Publishers Excel in Promoting International Literature.
The show floor will feature pavilions from China, Italy,
Korea, Sharjah, Turkey and stands from many more.
With the changes to BookExpo and BookCon, McDonald
says: Our goal is to be a highly impactful event that serves as
an end-to-end solution for the book industry to launch books
to the trade and consumers.
13
 London show daily
Keep calm and carry on processing
A year ago on these pages I was trailing the little
local difficulty that was the UKs impending
Brexit referendum, writes Duncan Calow. For the
Frankfurt edition in October I set out how media
lawyers were trying to make sense of the
referendum resultwith a little help from the
Marx Brothers. Since then there have been other
important election results to contemplate and
there are more on the way elsewhere. To misquote
a former prime minister and publisher (if he really
ever did say it): we do seem to be enjoying a lot of
events at the moment, dear boy, a lot of events. Duncan Calow
Which, unsurprisingly, means a lot of people
and not just lawyersare now trying to make sense of a lot of
different things. But, for me, a key challengeat least as far as the
law is concernedis still the same as described in my LBF article
last year, and thats working out what isnt going change, as well
as what might. Or indeed, what is going to change come what
May (pun intended). So, in other news lets take a subject
weve grappled with before and which also used to be considered
as safe and boring as discussions about the Common Market.
Data protection
Data protection was certainly once an overlooked area of law.
In a high profile case, a data protection specialist was once
famously introduced to the court as the anaesthetist. Yet as a
senior Google executive has memorably described, concern
over privacy now runs through business and, in particular, the
media and online, like a live rail on a train track. Treading
without care can bring a nasty wake-up for those still sleep-
walking. Fines and regulatory sanctions have added to the
risks, which will increase further with something called the
General Data Protection Regulation (GDPR).
The GDPR was finally agreed last year after four years of
negotiation, and is set to transform the legal landscape, but not just
within the EU. EU-based entities processing personal data outside
the EU, and entities outside the EU but targeting or monitoring
people in the EU, will also be subject to the new law. So US
publishers handling EU data, and EU publishers processing in the
US, will be caught. And before anyone stifles a yawn, fines for
non-compliance are now up to 20m or 4% of global annual
turnoverwhichever is higher. And no, those figures arent a typo.
What they are is a clear statement of intent that privacy and
personal data should now be taken as seriously as, say, the law
on price-fixing and other aspects of competition and anti-trust.
The latter being something that some of the biggest players in
publishing have been reminded of the hard way in recent years.
But the GDPR will have an impact on everyone, regardless of
company size, in the publishing business. As I like to stress, this
is not just about Big Data but, with so much of the
publishing back-office now in digital form, there is certainly a
need for everyone to do Smart Data.
Big picture GDPR concepts like privacy by design and
privacy by default (which will need baking into the process
14
Tuesday 14 March 2017
of developing and launching new publishing
technologies, products and services) and a new
statutory right to be forgotten seem to be
getting most of the media headlines. But nuts-
and-bolts business issues like simply updating
the terms of all your sub-contractor contracts
and actually having a written record of what
data you hold, what youre doing with it, why
youre doing it and who has consented to that,
are going to be just as important.
So, a stubbornly print-on-paper-only book
business with no direct consumer contact, no
online presence and no behavioural marketing
strategy will still have to get its house in order. Cutting-edge digital
publishers with user-generated fan fiction platforms, running
specialist childrens services or conducting online profiling of
student reading lists, will need to do even more. The analysis
involved is not necessarily rocket science, and a good dose of
commercial common sense will go a long way (though not all the
way), but with the GDPR there is a lot to work your way through.
GDPR will still apply
To return to my opening theme, however, doesnt a UK publisher
have to wait for what Brexit looks like to work out what all
this means for them? Well, remember that the jurisdictional
rules above mean that to the extent that a publisher still sells to
or engages with people in the EU the publisher is still going to
be stuck with the GDPR (at least in respect of relevant EU
data) regardless of Brexit, just like a US publisher. Also, as
things stand, the GDPR will take direct effect in the UK from
25 May 2018, well before any actual UK exit date.
Of course, we still await the UK Governments Great Repeal
Bill: the legislation setting out how EU law will be enshrined,
reformed or repealed in the UK after Brexitin particular for
EU Regulations with direct effect, like the GDPR. The UKs
data protection regulator (the ICO) has explicitly recognised
that a new data protection law will need to be in force and
something different to the current GDPR could emerge from
current discussions. Yet the ICO is also very clear in its belief
that strong data protection law is central to Brexit Britain
being open for business.
The ICO stresses both stability and that any new UK law will
not be overly lax or flexible. So whilst there are cultural,
commercial and historic reasons why the UK has taken a
different approach to data protection than other EU Member
States in the past, and may do in the future, the increased
importance ofand need for compliance withdata protection
law is not going to change. Neither are the expectations of
many of the people whose data is being processed. As far as
they and their privacy rights are concerned, they will still want
to know that theyve never had it so good.
For information on Brexit legal issues see https://www.dlapiper.com/en/
uk/focus/brexit-legal-impact/overview. Duncan Calow is partner at DLA
Piper UK LLP.
 Creatures
MAGICAL FILM

PROJECTIONS

FANTASTIC BEASTS AND WHERE TO FIND THEM and HARRY POTTER characters, names and related indicia are &
Warner Bros. Entertainment Inc. WB SHIELD: TM & WBEI. J.K. ROWLINGS WIZARDING WORLD J.K. Rowling and
Warner Bros. Entertainment Inc. Publishing Rights JKR. (s17)

Alternate.indd 1 2/24/17 1:39 PM

 Tuesday 14 March 2017
Vi
Lon sit us a
do
in S n Boo the
t Learning: We will do better
tand k Fa
7G1 ir Teuvo Sankila looks at the role publishers ne
0a
Women, Work, and
Economic Growth
Leveling the Playing Field The discussions and
Edited by Kalpana Kochhar, dialogue about the
Sonali Jain-Chandra, Monique Newiak transformation of learning
in the digital age keep
2017 - 256 pp. Paperback continuing as the years pass.
ISBN 9781513516103 Even though no one knows
Price: $30 the absolute outcome of this
change in progress, one
thing is for certain. In the
future students, parents,
teachers and administrators
will look for solutions and Teuvo Sankila
Women make up a little over half of the worlds population,
services which provide and enable better, measured
but their contribution to measured economic activity and learning results. Lets just call it better learning.
growth is far below its potential. This volume brings together
key research by IMF economists on issues related to gender Printed learning materials
and macroeconomics. Printed materials have been the standard learning material
for hundreds of years. It has been a great way to distribute
content to everyone. The content development cycles and
continuous improvement of the quality of the content has
reached almost perfection. Almost. We are still missing the
possibility to adapt the content to the needs of different
learners. One size doesnt fit all. The key question (and
Modernizing China challenge) we need to answer is how to take care of those
Investing in Soft Infrastructure whose learning capabilities require a faster or a slower
Edited by W. Raphael Lam, pace. Especially in instructor-led scenarios.
Markus Rodlauer, and Alfred Schipke While continuously improving our content we still have
to remember that learning requires work and practice. In
2017 - 388 pp. Paperback Finland our great success in Pisa was partly enabled by
ISBN 9781513539942 the efficient use of work books. Books that made the
Price: $38 students learn more by activating them and providing
teachers with an easy approach for conducting
assessment. We believe the same concept applies to digital.
Not everything can be achieved or understood with short,
playful sequences or learning games. The concepts of
focusing on the tasks at hand, taking your time and
Unlike investments in physical infrastructure, the benefits getting support from peers and teachers while being
of policy frameworks and institutions are often less well motivated to learn still apply.
understood and more difficult to implement. This volume
provides policymakers, academics, and the public valuable Benefits from digital
information about policies and institutions in China today. Digitalization of learning will take us a bit further. We
have already benefited from our experiences that digital
content will provide continuous feedback, learning paths
and objective feedback on personal progress. With digital
bookstore.imf.org/pw117 content and digital exercises, learners can receive real
time feedback and guidance on their progress. But we are
not talking about machine-driven learning. Teachers still
have a place in the digital ecosystem and will be there to
INTERNATIONAL MONETARY FUND support (and coach) learners, and give them the right
advice to proceed even further in their learning. Efficient
learning requires dialogue and feedback.

16
 Tuesday 14 March 2017

ter
ed to play in the learning process today

Publishers are Reality kicks in

Todays reality in the
going to be... education domain is far
driving the from perfect. From a
technological viewpoint we We Are Quarto
development of still lack standardised
learning tools and the
the new ways in return on device investment
which the has been in many cases, to
say it bluntly, quite poor.
learners and Most teachers are still
teachers can lacking the skills required
to facilitate 21st-century
perform better. learning. We need to
reinvent instructional
design and put our sights on the right pedagogyfind
new ways to use the digital content and the data
effectively for learning and learners. Its also important
to remember, that we should not get carried away by the
new trends of learning data and analytics. Its cool to
have a visual dashboard, but at the end of the day the
most important thing is to support teachers to make
their evaluation as objective as possible. Continuously.
That is what better learning is all about. Please come and visit us at
Stand 6D105
What really matters for publishers
We need to make ourselves relevant again. We need to be
in the centre of the learning process. Content cant be
hidden in repositories somewhere in the cloud, while we #wearebooks #wearepeople #wearequarto
are proud of the past years of successabout how we have quartoknows.com
been able to find the best subject matter experts and
teachers to make the best possible learning materials. But
if we want to succeed in the digital age, we have to be
innovative and ready to re-think the business. As
publishers we are going to be the ones who are driving the
development of the new ways in which the learners and
teachers can perform better. After all, its the content and
data that is collected from the learning activities and
interactions that will drive us to achieve more. More
work, more data, more feedback, better results.

Focus on better learning

At the end of the day its not about who develops the best
content. It is all about how you can support our learners
to learn better, to work more, to be active with the
community and engaged. It is about better learning. That
is where we focus in Otava Publishing.

Teuvo Sankila is publishing director, Education, Otava Publishing

Company Ltd. He will be speaking at the What Works? Successful
Publishing Resources & Technologies for the Future education conference, Lindpendance crative
today (14th March) 1pm to 5pm, Olympia Conference Centre.
 London show daily
Exit interview: Tom Allen
In January, Tom Allen officially retired from his
post as president and CEO of the Association of
American Publishers. But in addition to leading
the publishing trade association through a
period of significant change, Allen, a former six-
term congressman from Maine, is also a scholar
of American democracy, and the author of the
excellent 2013 book Dangerous Convictions:
Whats Really Wrong with the US Congress. With
so much political uncertainty, Andrew Richard
Albanese recently caught up with Allen to talk
Trump, and what international publishers can Tom Allen
expect out of Washington in the age of Trump.
AA: If you were going to do an update to Dangerous
Convictions to cover the 2016 election, what would you write?
TA: Well, two components have really struck me. One is that I
dislike candidates who attack the institutions of our democracy
for their own political gain. And I think Trump did that in the
campaign by talking about how the system was rigged, and
media is dishonest, and how crooked other people are. And
frankly I thought Bernie Sanders stepped over a line too. I think it
is very dangerous to attack the entire system of our democracy,
because it undermines the publics faith in institutions that
throughout history have proven to be really quite remarkable.
And the second thing would be to follow up on something I
wrote in Dangerous Convictions, essentially that issues and even
interest groups dont matter as much as they used to because
we are increasingly divided by worldviews that are either pro-
government, or anti-government. And this was the least
substantive presidential election I can ever remember. Policy and
experience didnt seem to matter. There was so much name-calling.
Its as if our presidential politics have become information-freeI
dont know if thats the way to say itbut lets say that at the very
least this election was much less dependent on evidence, and facts
and policy, and much more dependent on just attitude.
AA: Whats your immediate outlook for US politics, at least
until say the midterm elections?
TA: I think its going to be a very divisive, controversial
experienceand that will be unusual for one-party control.
Normally, when one party controls the presidency and the
Congress you get something done, for better or worse. Obama got
the Affordable Care Act. George W Bush got his tax cuts. But, this
time, there are significant divisions within the Republican Party,
and I think both parties have significant problems going forward.
AA: How would you explain to the international publishing
community whats going on in the US politically?
TA: Well, taking the long view, I would say a big part is about
economics. Not all of it, but a big part of whats going on is about
the decline of the middle and working classes in the US and
elsewhere, and the threat some people see from the other. And
that seems to be happening around the globe. The thing is, those
18
Tuesday 14 March 2017
old manufacturing jobs are not coming back to
the United States. And they didnt leave because of
the trade agreements, but because of technological
advancements. And thats happening in
publishing, too. Its happening in every industry.
The truth is, I just dont know where Trump is
going. But I can tell you that hes not going to do a
lot of things that he said hes going to do. But he is
the president, and he is going to do some things,
and some things that will matter to the world.
AA: You came to AAP in 2009the
beginning of a very eventful period for
publishers. How intense was it for you to learn the job in
the midst of a major tech boom?
TA: I came on in April of 2009, and, yes, the change was just
happening so fast. When I started, in the trade sector ebook
revenues were 1% of total revenues for the industry. And by the
end of the year they were at 3%. Then, they went to 10%, 18%,
24% before flattening out. I feel like I was here for the first eight
years of the digital transformation in trade publishing. And I had
to pick up almost everything. When I came here, I had practised
law for 19 years, so I understood the legal system. Id been in
Congress for 12 years, so I understood how Washington and
by extension other state legislatures worked. But for that first
year I had a lot to learn, especially about copyright, and the
digital challenges companies were having.
AA: Copyright and IP remain core issues for publishers, and
are always key topics at the London Book Fair. Do you have
any idea where Trump lands on those? And given that
copyright is often now addressed in global trade agreements,
like TPP (Trans-Pacific Partnership), which Trump has pulled
out of, what do you think that means going forward?
TA: We just dont know. Trump is a published author and he
is someone who is extremely conscious of his brand, so he is at
least someone who knows the value of intellectual property. But
I dont think were going to hear much from him on copyright
for a while. I think the centre of activity will continue to be in
the House, and in the Senate Judiciary Committee.
As for TPP, the opposition to that came from the perception
that trade agreements always cost American jobs. But the TPP
provisions on intellectual property were actually quite important
to us, because they encouraged much greater uniformity from
countries that dont have strong IP protections like we do.
AA: Whats next for Tom Allen?
TA: Being the president and CEO of AAP has been a fascinating
job, and Ive loved it. But Ive got five grandchildren back in
Maine, and Ive been commuting first to Washington, and now
to Washington and New York for 20 years, and Ill be 72 in April.
I want to go fly-fishing. And I want to spend time with those five
grandchildren. And Im pretty sure Ill do some thinking and
writing about Congress and American democracy.
LONDON BOOK FAIR 2017

The DIGITAL SPOTLIGHT MARCH 2017

An in-depth
look at
everything
digital
at the fair
 Innovative solutions to the

HAVING NIGHTMARES ABOUT problems that keep you up

at night.

SCALING YOUR BUSINESS? See us at Booth 3B41 at

the London Book Fair.
MARCH 2017
The Future of Publishing Is...
As the publishing world gathers in London, an
industry vet and the executive director of new
business at NPD Book surveys the storytelling
landscape
T
his year Apples iPhone will turn 10. The first-gener-
ation iPhonewas released on June 29, 2007, and the
iPad followed in 2010. Many of us can barely
remember the time before we had them, so pro-
foundly have they transformed our livesincluding
our relationship to reading.
If you started in publishing back in the B.A.before Apple
era, you probably remember living through the intense exis-
tential crisis that overcame the industry when the digital
future of 2007 met the financial crisis of 2008. No one was
sure that there would be much reading and buying ever again,
and there were dark predictions about screen addiction. By
2010, there were essays about the shallowness of angry flying
animals.
There were also blindingly bright predictions about a
future in which no paper would be required. The Amazon
Kindle was also born 10 years ago, and, without the chains
of the printed books, many consumers opined that the price
of books should drop because, after all, there were no lon-
ger any costs to making them. Everyone was going to be
reading more, more, more.
In truth, we really had no idea what was happeningwe
only knew that it seemed transformative. Flash-forward 10
years, and we now have some perspective on these prophe-
cies. And not everything has turned out as we predicted.
The one thing we do know: there is no going back. People
now integrate technology seamlessly into their lives, and
they do whatever makes the most sense to them as they
pursue their goals in a particular moment. I believe that pres-
ents exciting opportunities to innovate in ways weve barely
started to think about. Here are the biggest trends Im
watching.
Its Not Print or Digital
First and foremost, people still love print books. This is espe-
cially true of children, parents, teenagers, and millennials
overall. Millennials are also much more likely than baby
boomers to favor print magazines and subscribe to newspa-
pers. Sales of print childrens books are up consistently for the
last five years. If you just want to make great print books,
there is a healthy market for that.
At the same time, digital has made respectable inroads,
The DIGITAL SPOTLIGHT
BY KRISTEN MCLEAN
especially in fiction, where it
represents more than 50% of
purchases in categories such as
romance. Still, e-books are
down roughly 27% from their
2013 peak, and there is heated
debate over whether this is the result of people going back to
print or reading less overall as they are drawn into the spi-
derweb of short-form content streaming on their handy
smartphones. E-books have a very hard time competing with
other screen media in this context.
Frankly, Im not sure it matters how people are consuming
content. I would argue that focusing on the question of read-
ing vs. watching or print vs. digital is missing both the point
and the promise of where we find ourselves today.
The Omnivorous Story World
Technology is now so seamless and so powerful that if a child
is into fairies, or a reader is passionate about English myster-
ies, or a home chef is into a particular style of cooking, they
can chase that passion across a multitude of platforms,
including books, TV, consumer goods, social media interac-
tions, music platforms, apps, fan-created content, online
education, live events, and much more. Not just by buying
but by learning and exploring.
The passion of the individual organizes this pattern of
investigation, not necessarily the content creator. In fact, the
most exciting examples of this type of consumption are not
usually the product of a single creator or company, and seem
to take on a life of their own. (For instance, are you aware of
the current slime frenzy? Google it.)
Comics & Graphic Novels
It also makes sense that in todays highly visual environment,
comics and graphic novels would be embraced by new read-
ers who increasingly prefer to take in their stories with a
multisensory approach. Were seeing sharp growth in this
genre for both kids and adults, and many innovative artists
and writers are finding new readers as they push the limits of
this type of storytelling.
At the same time, were seeing energetic adaptations of
classics where the visual storytelling adds whole new layers of
3
 The DIGITAL SPOTLIGHT
meaning. Gareth Hindss adaptations of Homer and Shake-
speare for Candlewick, and Raina Telgemeirs Baby-Sitters
Club adaptations are both excellent, divergent examples.
Kid-Driven Discovery
Ever since I started studying childrens book consumers in
2010, I have watched the reported influence of children on
their parents consumer decision-making steadily rise. This
was not kids demanding what they wanted in a spoiled
waythis was parents communicating with their kids and
including them in decision-making as part of a new genera-
tion of family togetherness.
Now, as kids of all ages have instant access to the worlds
most powerful reference toolsincluding the content multi-
verse of YouTubeit is only natural that their sense of curi-
osity would start to drive some very powerful patterns of
discovery, inspiring kids to become subject experts, content
creators, community educators, and do-it-yourselfers. In an
era when your 10-year-old can fix the DVD player by watch-
ing YouTube and another child can start a 501(c)(3) to raise
and release endangered butterflies, what kinds of content can
we create to spark new areas of engagement and learning?
Maybe Audio Is the Future?
Finally, a quick word about the rebirth of one of our oldest
4 www.publishersweekly.com
MARCH 2017
forms of storytelling. Audio is on the rise, and not just
because it is easier to download. New formats and platforms
like podcasting and access to affordable production and
editing tools are making audio one of the most interesting
areas of story innovation.
From serializations to modern radio dramas to nonfiction
podcasts for any interest, audio is finding lots of new audi-
ences, and, unlike e-books, these audio forms can hold their
own on smartphones. Its not just about an audiobook adap-
tation any more.
Its All Here in London
It seems to me that the key to being a successful content com-
pany today is to do the one thing publishers have always been
good at: telling amazing stories. So, as you wander the halls
at the 2017 London Book Fair and think about whats next,
take a moment to also think back about the last 10 years. What
has surprised you the most? Can you name any predictions you
made that have come true, and any that havent? But, also
marvel at the fact that you are still here, making good con-
tent, and that your readers are still here, enjoying it. We really
are living in a most amazing age.
Kristen McLean is the executive director of new business at
NPD Book.
C

CM

MY

CY

MY

K
 The DIGITAL SPOTLIGHT MARCH 2017

Publishings Startup Culture

We talk with Thad McIlroy about innovation BY ANDREW RICHARD ALBANESE

in the book business

I
t has been said that for an industry supposedly in decline,
there sure are a lot of people trying to get into the pub-
lishing business. In fact, over the past decade, there have
been around 900 publishing startups, observes consul-
tant and Future of Publishing blogger Thad McIlroy,
who recently released a report on the state of publishing-re-
lated startups. I did the work to satisfy my own curiosity
and to understand the nature of innovation in the publishing
industry, says McIlroy, who started collecting data some
five years ago.
Where would you say the digital startup scene is at the
moment? Are we in a period where innovation and investment
is on the upswing, or is it slowing?
If we talk more broadly than book publishing, about the
digital startup scene generally, I would say that we are in a
period of extraordinary innovation and generous invest-
ment. As an example, artificial intelligence is causing a
great stir, launching literally thousands of startups, and
attracting venture capital like pigs to the trough.
Do you get any sense from your work of who is behind most
publishing-related startups? Are they publishing people
approaching traditional problems, or are they coming from
the outside?
Ive strong sense that the people behind publishing startups
are mostly newbies. Perhaps this is because publishing
veterans are cynical or pessimistic about the possibilities for
innovation. Navet has always been an advantage for the
entrepreneur.
that book publishing startups fail at merely a rate of roughly
a third within the first few years of operation. But thats
pretty good.
Can you talk about some of the common themes you see for
would-be publishing startups? Looking at the data, is there
a particular area where you see a lot of investment? Or any
glaring areas of opportunity?
There is a remarkable diversity in the startups, but a few pat-
terns emerge. Generally speaking, self-published authors are
the main target for publishing startups. I had thought that
lots of them would target publishing companies and publish-
ing operations, but very few actually do so. The big category
is self-publishing tools. And lots of the startups claim to be
the very best, easiest hosts for self-published authors trying to
get their books to market, with the most generous royalties.
On the reader side, many of the startups purport to help
readers discover the best next book to read. But thats a
problem that I dont think is nearly severe enough to justify
a new business. The other one that startled me was that there
were a dozen startups specifically targeted to finding the best
price for used textbooks.
Funding, obviously, is a concern for all startups, but is it
even more so for pub tech, given the industrys famously
thin margins?
Funding is the biggest problem that book publishing start-

Most startups failthat we know. Do

you get any sense of whether the bar is
higher or lower for publishing startups?
If so, why might that be?
Working through my study of the 900 or
so startups, I kept learning of one failure
after another, and it gave me the impres-
sion that the failure rate among publish-
ing startups was higher than it was in
other industries. So I researched that
question directly and found to my sur-
prise, and to my pleasure, that the book
publishing startups are failing at a level
roughly consistent with other startups.
It seems like a reverse compliment to say Thad Mcllroy

6 www.publishersweekly.com

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The DIGITAL SPOTLIGHT
ups face. Among all 900 startups I tracked over a 10-year
period, the total cash raised was under $1 billion. That
sounds like a lot until you consider that VC [venture capital]
investing in the U.S. totals some $50 billion per quarter.
And, when I took out the outliers from the equationthat
is, the relatively few companies that had managed to raise
$10 million or more in VC dollarsthe average investment
was under $2 million. If we assume that venture capital is
rational, then wed have to conclude that experienced finan-
ciers do not see much opportunity in the book authoring
and publishing industries.
What inspired you to start tracking startups in publishing
and what do you think such a resource might provide?
I got interested in publishing startups because of my broader
interest in where book publishing is going. Surely, the start-
ups should be some kind of a leading indicator. And my
report has lessons for a number of groups. Obviously VCs
and entrepreneurs can get a deeper understanding of
whats been going on with new ventures in our industry. But
I think its most interesting for all of us who work every day
in book publishing and want to get an idea of where were
headed.
So, nearly 10 years ago, Amazon launched the Kindle. But
e-books are hardly the first big revolution in publishing
the desktop revolution, which peaked in the 1990s, comes
to mind. As a veteran of the publishing startup scene, can
you put todays market in context?
I was deeply involved in the desktop revolution, which actu-
ally dates back to the mid-1980s. And that felt like a huge
change. But, when all was said and done, all we had was a
less-expensive tool set that could be used by less skilled oper-
ators while still achieving high-quality results. E-books are a
much more profound change for publishing. Superficially
theyre often just a digitization of an analog format. But
theyve changed the economics, how authors reach readers,
the balance of power for the traditional players, the number
of books that the public can access at any time, and onward
from there.
But I believe theres much more to come. The question
comes down to the format and the container. People tend to
assume that novels and narrative nonfiction have been with
us since the dawn of time. But, if you study the history and
evolution of publishing, you recognize that these are artifacts
developed based on available technologies and distribution
systems for a public hungry for entertainment and for knowl-
edge. The digitization of text and images frees up the delivery
mechanisms. More importantly, there are vastly more ways
to be entertained and to be informed these days than there
were when these formats first became popular. Right now,
we ask ourselves whats next, and what we see are the same
containers with the same kind of content. But stay tuned,
because that will change.
UK Office USA Office India Office
London Texas Chennai

sales@newgen.co www.newgen.co
 The DIGITAL SPOTLIGHT
Bringing the Science of
Marketing Technology to
Publishing
After an executive career with publishers including
Bloomsbury, Hachette, and Oxford University Press,
Evan Schnittman has a new role: entrepreneur
T
he tsunami of content available today is daunting
and overwhelming, as is the wealth of information
available to publishers navigating the complex
consumer environments created by Amazon, Apple,
Facebook, Google, and others. And, like the content
tsunami, that surfeit of data is also overwhelming. Each
year, more and more content makes its way onto the market,
increasing the need for tools and insights that help publishers
effectively identify and reach the readers for their books.
Thats why my colleagues and I created OptiQly, a market-
ing technology company. Weve created a proprietary pre-
dictive algorithm and technology plat-
form that applies machine learning
and Big Data concepts to the chal-
lenge of selling products online. Our
systems gather and assess dozens of
unique data points, signals, and triggers by which books
(and soon other products) are ranked, promoted, and sold by
online retailers (including the likelihood of discovery and
sell-through) and provide actionable real-time guidance
to publishers and authors. Whether through a snapshot
analysis of a books online presence using our lightweight
Chrome browser extension, or through the deeper and more
comprehensive market profile afforded by our platforms,
OptiQly is designed for the dynamic, 24/7 markets in which
we now find ourselves selling.
Roots
The idea for OptiQly grew out of the consulting work that
Pete McCarthy and his colleagues were doing for publishers,
agents, and authors at Logical Marketing. Drawing on
his years of experience running marketing research and
development at Random House, Petes team employed a
reader-driven multifaceted analysis of the sources and
signals that impact each title to recommend specific actions
to improve sales. Their work made it easier to translate and
act on the myriad factors that influence placement and atten-
tionand, thus, successwithin retail environments.
It immediately became clear to me that every single book
10 www.publishersweekly.com
MARCH 2017
BY EVAN SCHNITTMAN
would benefit from this kind of market optimization analysis,
with the overarching goal of matching the right book with
the right consumer. And so, OptiQly was born with the goal
of translating the bespoke marketing analysis pioneered at
Logical Marketing into scalable software tools that provide
our customers with actionable advice. Now, 12 months and
countless lines of code later, our vision is becoming reality.
As we come from the publishing world, books are our ini-
tial focus. But the concepts behind OptiQly are universally
applicable, and we anticipate quickly extending our tech-
nology to other products and platforms. Though were still
in the early days, we are gearing up for
launch early in the third quarter of this
year, with a beta waiting list (optiq.ly/
beta) that is already long and growing.
Sell More
In our experience, content creators, marketers, and the
C-suite too often view disparate data points in analytic silos,
which can yield misleading, incomplete, or even damaging
conclusions. Our approach is both analytic and holistic, inte-
grating signals from a wide array of social media platforms,
search engines, and other predictive environments and tools
to definitively identify which books would most benefit from
a marketing spend (and where), and evaluate when authors
brand authority may be flagging or spiking. And, impor-
tantly, OptiQly can do this for all your booksthe scalabil-
ity of our technology is a key facet of its effectiveness, and a
driving force behind the companys birth.
Much like the emergence of search engine optimization as
an effective means to optimize discovery in nontransactional
environments, our groundbreaking Merchant Engine Opti-
mization platform seeks to transform the business of selling
all books online. OptiQly is about analyzing and assessing
the sources and signals that predict online sales to empower
publishers and authors with strategic, actionable advice. We
look forward to working with you in the coming months.
Evan Schnittman is CEO at OptiQly.
MARCH 2016
Kondo-ing Your Content
Five questions every publisher should address
H
ave you picked up a copy of Marie Kondos bestsell-
ing The Life-Changing Magic of Tidying Up? Even
if you havent, chances are some people close to you
have applied her two-step method for decluttering to
their lives. This method of organization has even
sparked its own verb: Kondo-ing.
The Kondo-ing trend can also extend to publishing, as
content management and software solutions promise to
transport editors and authors to a new plane of existence, a
nirvana where content creation, collaboration, distribution,
and discovery are organized relatively painlessly. The Palo
Alto, Calif.based Radicati Group projects that the elec-
tronic content management (ECM) business will grow to a
nearly $10 billion market in 2018.
Publishers are realizing that they need to get smart about
organizing their content. To get started on a successful ECM
strategy (or, to Kondo a content problem), publishers should
ask themselves these five questions.
Where Is Your Content in the First Place?
To start decluttering, first you must find what you need to
organize and take stock of. Some content is living on hard
drives or in databases, while some is in spreadsheets or
strewn across several computers. The key principle here is to
figure out what to do with that content to determine its
home so that you can easily access and use it.
Are You Being Smart About It?
Being effective can mean different things to different people.
While organizing content, you might find it easier and more
fiscally efficient to repurchase the content rather than to devote
resources to finding it. This kind of efficiency can be madden-
ing; it can lose a lot of content and waste a lot of resources.
When implementing an ECM infrastructure, you should
consider allocation of resources, whether time, money, or
employees. The amount of lost time and effort in searching
for unindexed content is costing businesses more than they
would like to admit. Per a study by the International Data
Corporation, a business could waste $25 million a year in
time, assuming an average salary of $80,000 for 1,000
employees who each spend two and a half hours a day
searching for lost content. Implementing an ECM tool could
reduce these losses significantly and allow you to allocate
resources in new and more productive ways.
Are You Accounting for How People Are Consuming Content?
The monumental changes to the publishing industry are
The DIGITAL SPOTLIGHT
By Carl Robinson
being driven not by the over-
abundance of content, but by
the proliferation of devices for
consuming content. Given that
ways of consuming content
have evolved over the years,
mindsets need to change accord-
ingly. The industry tends to
approach content as if it were
print in a book instead of data in digital storage. This mind-
set can create limitations down the line. With a flexible,
format-agnostic approach, content would no longer be
constrained and could be used and reused, saving valuable
resources.
Are You Protecting Your Content?
Content is king. The intellectual property underpinning
content is how publishers make money, so it makes sense to
protect it. Creating an organized ECM solution helps
achieve that goal. Consider how often publishers work
with third parties such as editors or freelancerssending
out content and information, maybe by email or unsecured
FTP, waiting for the results. This process is risky because of
the lack of transparency. You cant see whats happening or
whether youre losing control of the content. By construct-
ing an effective ECM system, you can invite these folks to
operate in a controlled and monitored environment. When
the operations are done on home turf, you can control
them and see whats going on, thus protecting yourself.
Are You Using Metadata?
The word metadata is currently being thrown around a lot
in publishing and is accompanied by varying opinions about
its effectiveness. Enriching your content gives you strategic
organizational advantages. How many times have you
searched for one thing and found something you didnt
know you were looking for? You should be striving to emu-
late consistent results with content management.
As the need to adapt to digital grows, process, people,
and technology will all play a role in a smart content
management strategy. The need to be agile and adaptive
is important, but, to have agile content, organizations
must first become agile and adjust mindsets to focus on
digital-first. Smart management tools can help. 
Carl Robinson is a senior consultant at Ixxus.
11
 The DIGITAL SPOTLIGHT
GLOBAL MARKET
FORUM AT Can Self-Publishing
BOOKEXPO
The Global Market Forum at BookExpo (GMF) brings
Crack the Academic
Market?
together book industry professionals from the U.S. and
abroad for a forward thinking business conference that
addresses the diverse topics and relevant issues that
define the new publishing universe. Designed to create
meaningful connections through insightful panel We talk with Daniel Berze, senior
discussions and networking opportunities the Global
Market Forum lets you forge the ideas and partnerships to v-p of academic publishing for
drive your business into its global future on May 31, 2017.
Glasstree
The Global Market Forum offers
practical sessions for you to:
By Andrew Richard Albanese

C
an the self-publishing pioneer Lulu.com reshape the
academic and scholarly publishing market with its
new venture, Glasstree? Daniel Berze tells us about
Glasstrees plans to crack the academic publishing
market wide open.
D I S C OV E R In announcing Glasstree, you
A RANGE OF EMERGING MARKETS TO
noted that the existing aca-
HELP YOU PLOT THE NEXT STEPS FOR
demic publishing model is bro-
YOUR BUSINESS EXPANSION
ken. Youre not the first to
make such an observation
but explain why you think the
market is broken and why
Glasstree might be a solution.
The traditional publishing
model is broken for a number
E N G AG E of reasons. First, because aca-
demic authors traditionally Daniel Berze
IN SESSIONS THAT PROVIDE AN have so little control over their own content. When they
UNDERSTANDING OF INTERNATIONAL hand it over to their publisher, they often assign their copy-
MARKETS AND DETAIL BEST PRACTICES rights and hand over legal ownership. And they have no
power to set the market price. Traditional publishing often
compels purchasers to obtain content with restrictive poli-
cies, at often-extortionate levels. This is also true for open
access content, which usually requires the author to pay
unfair processing charges in order to publish. More gener-
ally, traditional academic publishers also lack transparency:

LEARN it is impossible to obtain any insight into the costs associated

with the production of a bookor the profit margins earned
FROM RECENT SUCCESS STORIES IN THE by the publisher and/or the author. Speed to market is also an
EXCITING WORLD OF TRANSLATION issue, as academic content can sometimes take years before
being published. Glasstree aims to put power back in the
Register today at hands of the author.

BookExpoAmerica.com One of the primary motivations for academic authors is

career advancement and prestige. Is the lack of reputational
pull a problem that you anticipate for Glasstree?

12 www.publishersweekly.com
MARCH 2017

Ultimately, we believe that status should be afforded to the

author and not the publisher. The reputational pull
should be directed back to the content generator. At
Glasstree, we also plan to support journal publishing in
the future by providing editorial boards, and the universi-
ties that ultimately support them, with the tools they need
to publish journals without the need for traditional pub-
lishers. Again, the reputation should be directed at the
editorial board and the content generators, rather than at
the publishers.

As a sort of academic self-publishing, how do you see the

service fitting into the current open access environment?
Very well, and we have already started to publish open
access works. Our principle advantage against all OA repos-
itories is our price point. We deliver full-gold OA at a
fraction of the costs of any other OA book publisher. For
example, the price necessary to publish a completed open
access monograph with Glasstree is $80. For full service
supportincluding peer review, editing, etc.the price is
$2,000. I am not aware of anyone who can provide this
service at this price point.

The biggest purchasers of academic works are academic

libraries. How will Glasstree reach libraries?
There are several ways. We have started to contact librar-
iesalready we have emailed more than 25,000 librarians
worldwideinforming them of the opportunities that
Glasstree makes available to them. And we have started to
visit libraries personally, and will continue to do so the
PW IS EVERYWHERE
coming year. We have also completed an arrangement
with Clarivate (formerly Thompson Reuters) to index
YOU NEED US!
Glasstree content. And we are about to complete agree-
ments with several other content discovery platforms to
bring awareness of our content to the library community. GLOBAL. NEWS.
We also plan on attending several conferences in the U.S.
and Europe.
UPDATES.
AND MORE.
What do you think the main selling point for Glasstree is?
And where do you expect the service to be next year, and
then, say, five years out?
I think that the biggest selling point is the ability to provide
authors and universities with the tools that they need to pub- 500,000
lish, print, and be successful at a price level that would be Mobile Users rely on
unfathomable even a few years ago, with a specific orienta-
tion to academics and educatorsfor example, the ability to
PW mobile as a daily
track bibliometrics with a DOI, discoverability tools, cre- source of information.
ative commons licensing, and so on. This year, we will intro-
duce a print API to the market. Next year, we plan on intro-
ducing article-based publishing. And, in five years time, we
hope to be a significant player in the market to facilitate
authors and universities to publish their own content, and I
have plans to introduce an entire range of services for the
academic community.

13
 The DIGITAL SPOTLIGHT
Smoothing Out the Bumps in
The Digital Road
Changes in mindset , simplifed processes can
smooth the digital transition
M
uch ink has been spilled on the topic of digital
publishing, with adopters and adopters to be
deliberating over the whithertos and whyfors.
And yet, change (and progress) has been rather
bumpy.
Digital publishing technologies have much to offer pub-
lishers, says Uday Majithia, assistant v-p for marketing and
presales at Impelsys. But the skepticism around embracing
emerging technologies, bringing operational efficiencies
through automation, and experimenting with new business
models is prevalent among publishers, he notes. With a
well-thought-out strategy, a lot of publishing processes
from content authoring to deliverycan be simplified and
streamlined to save time and money. But the transition is
taking a long time.
For CEO Rahul Arora of MPS, digital strategies in science
and scholarly publishing should run much deeper. For
instance, even though more journals and periodicals are
being published as e-only and with open access, there is still
a high dependency on PDF-based deliverables, he says.
But some progressive trends, Arora adds, are becoming
evident. Smart innovation in enriching and harmonizing
content to improve discoverability is one of them, Arora
says. The movement from document-based to asset-based
workflows is another. Then there are digital-first workflows
backed by subprocesses such as online authoring and peer
reviewing facilitated by cloud-based workflow management
systems. We look forward to increased adoption of these
processes.
Ed Marino, CEO of CodeMantra, says, however, that as
an industry, we have not yet figured out how to truly mone-
tize the digital format in publishing. Accessibility, interactiv-
ity, and the ability to incorporate games, for instance, are all
possible, and yet we have not found the killer app that drives
demand and, in turn, revenue.
Dismantling Stumbling Blocks
Publishers face three key challenges, says founder and CEO
Gareth Cuddy of Vearsa. Discoverability, which is very
important, is one of them, he says. Growing the relatively
flat digital sales is another, and then there is the challenge of
finding actionable insights. Each of these challenges can be
metnot solvedby using the data in the publishers own is plenty of growth out there, says Cuddy. There is also a
sales history and the information available in the industry.
14 www.publishersweekly.com
MARCH 2017
BY TERI TAN
Many publishers still think and act print-first, adds
Marino of CodeMantra. We have to change the paradigm
by thinking differently from the beginning, Marino says.
We have to focus on the content and how to make the
content come to life. This is especially true in the world of
academic, professional, and educational content. We see
movement in this direction, but not enough. Just take a look
at how other media forms have changed with technology,
new channels to market, and so on. These are indicators of
what will eventually develop in the publishing world. The
winners will be publishers who work at developing new
revenue streams rather than simply look to enhance cur-
rent ones.
Presently, publishers are unable to use the power of data to
improve their revenues significantly, observes Majithia of
Impelsys. Analytics is one of the pillars for every business,
and, in the content business, analytics can hugely bolster
the marketing and sales efforts, Majithia says. But those
who have learned to look into the data are not looking at it
in granular levelprobably because they are not receiving
such data from the platforms that host their contentand so
they are looking at summarized information and revenue
information, and not reader behavior, demographic analysis,
and e-book performance, which can give a deeper insights
into their business.
Highlighting Successes
Arora of MPS finds that HTML5-based composition is
beginning to gain traction. Content production has seen a
series of sustaining innovations but is yet to disrupted, where
publishers do not need any manual touch points. Publisher
platforms should speak directly to supplier platforms,
he says. The industry is also ripe for a cost-effective pro-
duction management system that provides deep-level
functionalities to all publishers irrespective of their annual
production output. The access and capability should not
be limited to just the large publishers.
Over at Vearsa, Cuddy and his team saw encouraging
overall growth in e-book sales in 2016, particularly in mar-
kets such as Spain, Northern Europe, and Southeast Asia,
where the demand for English-language titles is strong.
There is a general resignation about e-book sales, but there
definite shift towards data, and we see most of our publish-
The Tools you need to maximize your Rights Business

www.Pubmatch.com
 The DIGITAL SPOTLIGHT
ing clients spending a lot of time mining their own data to
optimize growth. With Vearsa now providing daily digital
sales reports in easy-to-use dashboards, Cuddy points out
that his publishing clients are spending less time on retriev-
ing and normalizing data, and more on understanding the
ROI on new title marketing.
But pure e-book revenues, says Majithia of Impelsys, are
approaching the growth plateau, and that has hampered
technology investments. He adds: Publishers have to find
other ways to stabilize, innovate, and grow their e-book rev-
enues. Discoverability of content is another issue for small
CodeMantra
A year has passed since the launch of CollectionPoint 4.0,
CodeMantras flagship asset-management distribution plat-
form, and CEO Ed Marino says the team continues to focus
on two key challenges that keep publishers up at night. One
challenge is the effective management of metadata and con-
tent, Marino says. The other is the need for a collaborative
system to manage content production and all the communi-
cations that surround it.
Marino points out that, increasingly, publishers are asking
vendors to provide all aspects of these solutions in terms of
services and platform: We find that 2017 presents some
unique problems for publishers that systems such as CP 4.0
can help to manage. We know that data normalization is a big
challenge for publishers with numerous imprints or who have
grown through acquisition. CP, and the services that sur-
round it, can solve many of these challenges, Marino says.
The second publisher challenge is addressed by adding a
number of capabilities that have greatly improved the pro-
cess. By solving these two challenges, publishers are then
able to do more with less, and also improve time to market,
says Marino, whose team has added a fast file-transfer capa-
bility for large files. We know time and money are wasted
using archaic FTP processes for file management. There is
also no traceability. This new feature solves the problem. We
also have a capability we refer to as Engage, which is a part
of CP 4.0, and this allows the publisher to communicate with
consumers in a secure walled environment.
On the content production side, Marino says, CodeMan-
tra is driving high levels of efficiencies through its develop-
ment of innovative composition technology and the han-
dling of other vexing problems that publishers face today,
such as handling LaTeX files. Another focus area for us has
been accessibility, Marino says. We have the ability to effi-
ciently transform files into accessible formats and have even
created a rapid turnaround time, on-demand accessibility
16 www.publishersweekly.com
MARCH 2017
and midsize publishers where they need to identify their
readers and devise ways to better connect with the users by
developing strategic social media presence and help the users
easily discover the content. Our iPublishCentral Insights
analytics service, for instance, is a powerful SaaS-based tool
that allows publishers to isolate and examine subsets of data
at the microlevel to bolster their business.
There are more solutions out there waiting for publishers
to adopt and leverage, and the following pages further illus-
trate some of those that are already available and, in many
cases, tested and proven.
capability. So, when a publisher needs content made accessi-
ble very quickly, they know where to go.
CodeMantra, adds Marino, is at the intersection of pub-
lishing and technology. He notes: We find that publishers
still dont look to technology first to solve their problems.
When they do, however, they often turn to technology part-
ners who do not know publishing. For us, the biggest chal-
lenge is to find technology solutions that fit the publishing
ecosystem with all its nuances.
Marino will be talking about The Engagement Model:
Its Time to Change It Up in the Tech Theatre on
Thursday, March 16, at 10 a.m.
Impelsys
The latest 8.0 version of iPublishCentral now offers journal
support at the reader level. The addition is the feature most
requested by publishers and professional associations, says
Uday Majithia, assistant v-p for marketing and presales.
Our reader applications can now render journal content,
and we are currently implementing additional journal-spe-
cific features at the portal level in a phased manner.
With the added journal support, we have a powerful
reader technology that can help publishers deliver any type
of digital content in multiple formats: e-books, journals, vid-
eos, or SCORM objects, adds Majithia, whose team will be
at Booth 7J38 to demonstrate these features. IPublishCen-
tral, Impelsyss flagship content delivery platform, offers
more add-ons to support enterprise content and learning-de-
livery initiatives. Having worked with content creators and
learning providers for over a decade now, we have a firm
understanding of organizing and delivering online learning
to support enterprise-grade professional development infra-
structure.
The team is also upgrading the platform to include acces-
sibility support on both online and offline readers. We are
also looking into payment compliance for portals supporting
e-commerce, comprehensive analytics on user behavior on
online readers, incorporation of drawing tools, and other
reader enhancements, as well as an overall UI/UX revamp,
adds Majithia.
MARCH 2017
One interesting project at Impelsys in recent months was
the development of a university-level course for engineering
studies in Africa. Partnering with a content aggregator, the
team sorted course modulesspread across 250-plus CDs,
from installation files to applicationsinto beginner, inter-
mediate, and advanced pedagogy, and then converted them
into SCORM-compliant online courseware, complete with
interactivity and the assessments necessary for engineering
certification studies. The courses are now on iPublishCen-
tral Learn and will be made available to universities offering
engineering studies in Africa, Majithia says. In addition to
the classroom training, students can access these device-re-
sponsive courses to reinforce classroom learning, thus pro-
viding them with a unique blended learning solution.
Meanwhile, Impelsyss adaptive e-book proof-of-concept,
which was demonstrated at the 2016 Frankfurt Book Fair, is
now being implemented. Majithia and his team are working
with some early adopters to enhance existing content to
make it more effective for adaptive e-books. The fluid con-
tent concept, he explains, is focused on improving learning
outcomes through personalized learning paths.
CEO Sameer Shariff and executive v-p and head of EMEA
Stefan Kendzierskyj will present two sessions at the Tech
Theatre: Stepping Up the Content Game: Enriched,
Interactive Content to Promote Enhanced Learning, on
Tuesday, March 14, at 2:30 p.m., and Build and Manage
Efficient Production Workflow to Get Your Digital Products
to Market Faster on Wednesday, March 15, at 10:45 a.m.
MPS
The latest news out of MPS is its partnership with the French
company Gutenberg Technology, which develops and pro-
vides online and mobile technology solutions for publishers.
As a preferred Gutenberg Technology partner, we now have
extensive access to Gutenbergs MyEContentFactory 7.0, a
SaaS cloud-based solution that facilitates simultaneous print
and digital delivery, says CEO Rahul Arora, adding that the
partnership allows clients from both companies to create,
modularize, and publish interactive courses at an industrial
levelnot just on tablets and smartphones but in print and
on the Web, as well. Arora and his team have also entered
into a definitive asset-purchase agreement to acquire Utah-
based Think Subscription, which provides subscription man-
agement and fulfillment solutions.
Meanwhile, a thorough revamp of MPSs flagship cloud-
based workflow management platform, MPSTrak, is cur-
rently underway to improve its stability and performance
when handling enhanced user loads. We have embarked on
a proof of concept with an independent European academic
The DIGITAL SPOTLIGHT
publisher to implement MPSTrak as their production track-
ing and management system. This publisher has over 1,300
new titles annually, 700-plus subscription-based open access
journals, and numerous digital products, adds Arora, whose
team has recently implemented ScholarStor, a component
from its DigiCore publishing platform, for a U.K.-based pro-
vider of nursing and health information solutions.
Improvements and additions
to MPSTrak and DigiCore
have continued unabated since
its launch. For MPSTrak, we
have added ad hoc reporting,
notification and reminders and
integrated it with RightsLink
system and enhanced APIs to expose workflow actions,
Arora says. An audit trail has also been added so that autho-
rized users can see all changes made to metadata values
across all business entities. Reports can now be generated,
with no restrictions, by selecting the output parameters
dynamically; automatic reminders can be set up for any user
at the journal, issue, or article level in the production pro-
cess. What we can capture, we can report, Arora says.
And this gives publishers a much greater flexibility in
reporting.
Meanwhile, DigiComp, an automated composition com-
ponent within DigiCore, has been expanded to support
InDesign Server and HTML/CSS for server-based composi-
tion workflow. The DigiComp rules engine has been signifi-
cantly upgraded to increase accuracy of automated page
proof generation and automated validation of generated
PDF proofs with exception-based routing, explains Arora.
And MPSs ScholarStats, which empowers libraries and
institutions with powerful content usage analytics, now sup-
ports the Sushi plug-in for third-party integration and single
sign-on while offering Counter 4compliant reports. Our
clear analytics will point out areas to focus on for more return
on investments and better utilization of e-resources, making
it an indispensable product that helps librarians to take data-
driven decisions and save time and money, Arora says.
For the latest on DigiCore and MPSTrak, head over to
booth 7H48.
Newgen KnowledgeWorks
The expanded version of MyOwnBook, Newgens workflow
management portal, has been launched. It further simplifies
the management of books and authors, and is a viable
solution for all book typesfrom simple to complexby a
single author or multiple contributors, says Tej P.S. Sood,
head of business development, adding that his company has
also expanded its services to include printing solutions and
management to clients.
Newgen DigitalWorks is also offering customized digital
marketing solutions for publishers, and its technology
17
 The DIGITAL SPOTLIGHT
division, Core Digital, is busy creating bespoke Web-based
applications for various publishing processes. The idea
is to make the publishers internal processes more lean
and mean, adds Sood, pointing out that Newgen is cur-
rently collaborating with Dutch company Konvertus in
providing solutions in European languages to clients in
that territory.
One major project involving the conversion of hard-copy
contract agreements for a large legal publishing firm has
kept Sood and his team busy in recent weeks. These
agreements, cumulated over the past four decades, had to
be digitized and transferred onto the clients portal within
six weeks, he says. We had to analyze the agreements,
identify key information, tag the content, extract the appro-
priate fields, and accurately map it into the platform.
A dedicated team was tasked with analyzing and segre-
gating the agreements into predefined categories while
experienced developers were called in to build the automa-
tion tools. Newgens automated extraction technology
further fast-tracked the process while subject matter experts
worked around the clock to ensure the accuracy of the
extracted content. We started populating the content onto
the platform during the second week of production on a
trial-run basis, and this helped to identify potential issues
even as we were tweaking solutions to resolve those issues,
Sood says. The project was successfully completed well
within the given timeframe.
Another recent project involved Newgens Jaws Evolve
solution, a journal publishing platform that integrates
article submission, peer review, and production processes.
We were asked to provide an end-to-end publishing
solution for a midsize publishing company in the social
science space, Sood says. Jaws Evolve was deployed to
enable the company to manage the entire journal produc-
tion workflow starting from submission through to content
publication on different platforms, including third-party
aggregator portals.
Jaws Evolve, Sood adds, allows immediate interaction
between authors, editors and reviewers during manuscript
development and review stages. It streamlines the commu-
nication through predefined review forms, email messages,
and notifications. Furthermore, the platforms Word-based
copyediting framework is linked with the clients compo-
sition engine, which helped in expediting the production
process through an XML-first workflow.
For more on Jaws Evolve, MyOwnBook, and other Newgen
solutions, visit Sood and his team at booth 7G09.
18 www.publishersweekly.com
MARCH 2017
Vearsa
Helping publishers gather and use data in meaningful ways
is the focus at Vearsa (formerly ePub Direct). We track over
seven million print and digital titles per day in nine different
territories, says company founder and CEO Gareth Cuddy.
The process allows us to understand the book market in
unprecedented ways, he adds. Our publishing clients are
using this data to make sure their titles are available for sale
in the best possible way, and help establish their pricing strat-
egies, particularly for e-books. Such real-time price monitoring,
common to most industries, is now becoming increasingly
important in publishing.
Vearsas clients, many of which are among the worlds
largest publishers, are gathering as much as 210 million data
points per day to drive their decision-making around com-
missioning and pricing, and even factors as granular as opti-
mum shipping weights. These may seem like massive numbers
and complex processesbut they are not. All publishers will
come to use this type of data as a core competency very soon,
Cuddy says. Vearsa is the only company that can deliver
this type of volume in the industry, and that is made possible
through our close and collaborative relationships with our
publishing clients, he adds. They come to us with ques-
tions, and we figure out the smartest and most automated
ways to deliver the answers.
One of the most time-consuming chores that publishers do,
Cuddy says, is to manually retrieve reports from as many as
5060 retailers on either a daily or monthly basis. So we have
developed a technology that allows us to automatically
retrieve such reports daily, and then consolidate them into
easy-to-understand dashboards in our sales reporting tool,
Vearsa Analytics, Cuddy says. It saves many publishers from
having to deploy full-time personnel while democratizing data
across many internal teams so that everyone can see what is
happening with their book sales without the manual labor.
As to how Vearsas partnerships with hundreds of childrens
publishing houses, including Usborne and Sourcebooks,
have come about, Cuddy explains: Our book conversion
services have enabled these publishers to digitize their con-
tent more effectively. We also have close relationships with
key childrens channels such as Epic and OverDrive. The fact
that we have so many childrens publishers onboard has also
allowed us to share our experience and expertise to help
them grow their sales.
To learn more about Vearsas experience and expertise,
head over to booth 3B57. And check out Cuddys Vearsa
Live Market Data sessions in the Tech Theatre on Tuesday,
March 14, at 3:15 p.m., and on Wednesday, March 15,
at 11:30 a.m.
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 Tuesday 14 March 2017
Introducing the Poland Market Focus
Over the last 11 years of the British Councils
partnership with LBF on the Market Focus,
we have hosted writers from Han Kang to
Elif Shafak to Elena Poniatowska, and
programmed seminars on subjects as varied
as Mexican journalism and Chinese science
fiction, writes Harriet Williams.
The British Council supports the Market
Focus programme because it provides a unique
opportunity to bring different cultures into
conversation with each other, to get more books
into translation from each language in each
country, and to promote cultural exchange and
friendship between the two countries. Countries
to benefit from the Market Focus in the past
few years include Mexico, Korea and Turkey,
and this year it is the turn of Poland. Market Focus Poland imagery
And so to Poland
Polands turn as Market Focus has been eagerly anticipated.
Poland had four Nobel laureates for literature in the 20th
century and has had a long and venerable literary tradition,
which has sustained it through the hardships of that century.
Economically, in 2016 it was the fifth fastest growing
economy in the EU. There is a big market for rights sales: in
2015, 21.5% of published titles were translations, and of
those 57% came from English-speaking countries.
Additionally, Polish is the second most spoken language in
the UK, and so close collaboration between our literature
sectors is a worthy objective.
Our partner, the Polish Book Institute (PBI), already runs
a varied programme of translation subsidies and samples,
and alongside the Polish Cultural Institute in the UK (and
elsewhere) works tirelessly to promote Polish literary
culture overseas. The British Council already had excellent
relationships with which to work and build on. On visiting
Poland and meeting representatives from its literature
sector, what strikes the visitor is the readiness of the Polish
literature sector to engage with digital and embrace the
challenges facing the industry. Whether by developing an
ebook library in bus stops, or by placing booksellers on the
protected trades list (thereby securing cheaper rents), the
sector is up for a challenge.
Visiting authors
The British Council and Polish Book Institute are supporting
12 Polish authors coming to the Book Fair. These writers,
some of the best that Poland has to offer, represent a range
of genres and styles. We have the great Olga Tokarczuk,
who is Author of the Day on Wednesday and soon to be
published by Fitzcarraldo Editions. See her at the English
PEN Literary Salon on Wednesday at 2:30pm.
Amongst the fiction writers are also Zygmunt Mioszewski
and Jacek Dehnel, both versatile novelists who write in a
London show daily
variety of genres. Dehnel is also an established
poet and will discuss Polish Poetic Universes
alongside Marzanna Kielar at the first seminar
of the Fair at 10am today in the Club Room
(National Hall Gallery).
Illustration duo the Mizieliskis have sold
their book Maps in 32 different languages
and will be taking part in a live drawing
event at the Polish stand on Wednesday at
2:30pm. The great Polish genre of reportage
is represented by Ewa Winnicka and Artur
Domosawski, both of whom will take part
in a discussion entitled What Place for
Reportage in a Post-Truth World? on
Wednesday at 1pm in the Club Room.
Professional programme
The professional programme, devised by the
PBI, the UK Publishers Association and LBF, will introduce
publishers to the Polish book market. Events include Digital
Poland: New Trends in Publishing from The Witchers
Homeland at 11:30am today (Cross Media Theatre), and
PubTechPoland, which is going on throughout the Fair, and
aims to introduce the world to the creativity of Polish
publishing software companies.
And while London Book Fair is the centre point of the
Polish programme, there is much more to come. The year
2017 is also the 160th anniversary of the birth of Joseph
Conrad, the most British of Polish writers, and so the
British Council and Polish Cultural Institute are working
with Comma Press to produce Conradology, an anthology
of short stories responding to Joseph Conrad, by both
British and Polish writers.
The British Council, Polish Book Institute and Polish
Cultural Institute will support Polish writers visiting UK
festivals, and UK writers attending Polish festivals,
throughout the summer months. The Polish Cultural
Institute runs its own extensive programme of writer events
each year, and this year we are pleased to collaborate with
them on elements of their programme. Together we are
producing a series of educational resources aimed at
teachers of seven to 11-year-olds to help them to introduce
Polish culture to their students, which will be launched on
Polish childrens day, 1st June.
The Cultural Programmes are always bilateral and this year
the Big Book Festival in Warsaw will host a British-themed
day, with visiting UK authors, events and a celebration of
Jane Austens bicentenary.
The richness of the Polish literature scene will be on full
display during the Fair and the next six months in the UK.
Its a great opportunity to get up to speed on contemporary
Polish culture.
Harriet Williams is literature programme manager, Arts at the
British Council.
19
 London show daily Tuesday 14 March 2017

Author of the Day: Roddy Doyle

Todays Author of the Day is Roddy Doyle.
Nicholas Clee caught up with him in the run
up to the Fair.
NC: Have you visited the London Book
Fair before? Any book fairs?
RD: I havent been to the London Book Fair
before. I was at the Frankfurt Fair once, years ago,
soon after I won the Booker Prize. But I stayed
away from the pavilions. So, strictly speaking,
it would be more accurate to say that I was in
Frankfurt while the Fair was on. I was at the Book Roddy Doyle
Fair in Vilnius about ten years ago and I really
enjoyed that one, even though it was mid-winter in Lithuania and I
quickly understood that the term bone cold has real meaning.
NC: You dont stay still: you write adult
books, childrens books, dialogue-driven
books (Two Pints), even a footballers
book. Do you enjoy stretching different
creative muscles?
RD: I havent stretched a creative muscle
in years. I used to worry that Id run out of
ideas. But as I get older I know its not
ideas; its energy. As long as the job involves
words and storyand its what I really want
to doIll give it a go. I enjoy the contrasts
between the different forms. Writing a film
script is so different to writing a novel, I
find it quite easy to give proper attention to both in the
same working day.

NC: You must have many demands on your time. What
tempted you to say yes to this one?
RD: Honest answer: its nice to get out of the house now
and again. Another honest answer: its nice to be flattered
now and again. Another honest answer: Ill get to see the
Russian Revolution Art exhibition at the Royal Academy
while Im in London.
NC: Youve also revisited characters: Jimmy Rabbitte,
Paula Spencer. Have these books been long planned, or
spontaneously embarked upon as the characters fire your
imagination again?
RD: As of September 2017, Ill have had 11 novels
published and only two of them stand alone. Ive always
stayed curious about Paula Spencer, for example; I often

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 Tuesday 14 March 2017
wonder how shes getting onif theres another book
there. Others, like Jimmy Rabbitte, stroll up after years of
hiding in some chamber at the very back of my head.
When I started work on the script for the musical of The
Commitments about seven years ago, I was pleased that,
years after Id given Jimmy his name, I could still imagine
him. And I began to wonder what the years had done to
himagain, how he was getting on. So I wrote The Guts.
It seems to make creative, and human, sense to return
to characters.
NC: Literary prizes may be even more significant now
than they were in 1993. What effect did winning the
Booker have on your career?
RD: My work was already well known in Ireland, where I
live. The Commitments had become the most commercially
successful film ever released in Ireland at that time. My
novels, The Snapper and The Van, had been very popular.
So, after about a month of turning down interview requests
and invitations to open supermarkets or to have lunch in
aid of the destitutekeeping myself to myselflife reverted
to normal. But I was suddenly an established writer, as
opposed to a bit of a maverick. I had to keep my eyes on
London show daily
the page, to make sure I continued to write exactly what I
wanted to write, not what might be expected of me.
Winning the Prize had a huge impact on sales. I was a
wealthy man for a whilejust months after Id given up my
job as a teacher. The timing was, for once, perfect.
NC: You set up Fighting Words. Why did you do it, and
what has it achieved?
RD: I was an English teacher for 14 years, between 1979
and 1993. In that time I wrote my first four novelsbut I
couldnt really teach creative writing because it wasnt on
the curriculum. The thinking was, and perhaps still is: if it
cant be graded, it has little value. So, I co-founded Fighting
Words in 2009, to combat that stupidityto make creative
writing as inviting as possible for children and teenagers,
and to let their teachers witness the impact it has on their
students. And it seems to be working; we now have six
centres in Ireland and have worked with 80,000 children
and young people. We now have training courses for
teachersthey seem to love it. I recently watched a class of
10-year-old boys writing a story together, in the new
Fighting Words centre in Cork. The boys wrote the best
sentence Ive read in years: God ran away.
 Tuesday 14 March 2017

INSPIRING Copyright reform inches a he

TRUE STORIES After more than two years of hearings and testimony, US House
Judiciary Committee chairman Bob Goodlatte and ranking
member John Conyers released their first public policy proposal
for US copyright reform at the end of 2016. Their first
Between Heaven
recommendation: to establish an independent, and autonomous,
and the Real World
by Steven Curtis Chapman Copyright Office.
with Ken Abraham Under their proposal, the US Register of Copyrights, who
Five Grammy Awards, 58 Dove currently reports to the Librarian of Congress, would become an
Awards, 48 career #1 radio singles, independent, term-limited post (10 years), subject to Senate
11 million records soldbut the
music is only part of his story.
advise and consent rules. Creating an independent Copyright
Office, Goodlatte and Conyers suggested, would better equip the
9780800727642, 9.99, March 2017
agency to manage a 21st-century copyright regime.
But the proposal also revealed something fundamental about
how copyright reform will unfold in the USin a word, slowly.
Dont expect big changes, observers say, but rather small nibbles
around the edges. And even those small nibbles could be tough to
Taking My Life Back get through.
by Rebekah Gregory I dont think youre going to see a big DMCA-like [Digital
with Anthony Flacco Millennium Copyright Act] piece of legislation, observed Tom
A spectator at the 2013 Boston Allen, the recently retired president of the AAP (Association of
Marathon finish line shares her moving American Publishers), and a former six-term congressman.
and inspiring story of how an act of Chairman Goodlatte has expressed the view that he would like to
terrorism changed her life forever.
pass legislation to which most stakeholders agree, and the broadest
9780800728663, 9.99, April 2017 consensus now has to do with reform of the Copyright Office, so
thats why that was the centrepiece of his first statement. Beyond
that, I really dont know whats coming. But I do know that
[Goodlatte] has a preference for getting stakeholders to agree to
legislation in advance.

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Battle lines
In fact, there is broad consensus that the US Copyright Office is in
dire need of modernization. But there is sharp disagreement as to
whether a separate, independent copyright bureaucracy is
necessary, or even wise. The content industries strongly support an
independent Copyright Officeas does the current president of
AAP, and the former Register of Copyrights, Maria Pallante,
whose vocal support for independence likely led to her sudden
removal as Register last fall by Librarian of Congress Carla
Hayden. But tech companies such as Amazon, Facebook, Google
and Netflix opposed the move when it was first floated, as does the
library community and various public advocacy groups.
Establishing the Copyright Office as an independent agency
does nothing to address its challenges, ALA (American Library
Association) officials concluded in a statement in 2015. Instead of
independent authority, the Copyright Office needs resourcesboth
in the form of funding and technical expertise.
Indeed, if Goodlatte prefers to get stakeholders to agree on
legislation, copyright reform could be a slow process. There seems
to be little consensus on copyright issues at this time. And over a

2 M E contentious decade of copyright litigation in the US, some hard

battle lineswith strong lobbying presences on both sideshave
emerged. On one side, the content industries (including publishers)
lament what they see as the US judicial systems expansion of fair
use in the digital age, which they claim is shifting power away from

22
 Tuesday 14 March 2017

s a head in US

Jon Baumgarten (left) will take part in a debate with US judge Pierre
Leval on copyright policy in the US at LBF tomorrow

content creators, to the tech sector. The tech sector, meanwhile

bolstered by public advocacy groups and the library community
claim they are innovating within the bounds of the law, and to the
publics benefit.
The most famous example of this trend: Googles library book
scanning project. Last April, Googles scanning was deemed legal
in a unanimous decision by a US court of appeals, ending a decade-
long legal battle. And notably, the judge who wrote the final
opinion in the Google case, Pierre Leval, will be in London for
what is being billed as a debate on the future of fair use.

A must see debate

If you want to get a sense of where the fault lines are in American
copyright policy, dont miss this years Charles Clark Memorial
Lecture. In a departure, this years lecture is billed as a debate
between Levalconsidered Americas foremost legal architect of
fair useand Jon Baumgarten, a longtime intellectual property
attorney and former general counsel for the US Copyright Office.
The event is set to run from 4pm to 6:30pm tomorrow (15 March)
in Conference Room 1 and 2.
Last April, after the US Supreme Court refused to hear the
Authors Guilds appeal, Mary Rasenberger, executive director of
the Authors Guild, asserted that US courts today were blinded by
the public benefit arguments, and Authors Guild president
Roxana Robinson asserted that the Google case was proof that
were witnessing a vast redistribution of wealth from the creative
sector to the tech sector.
Other stakeholders, however, have praised the courts decisions
on fair use. After the Google decision, Raza Panjwani, policy
counsel at advocacy group Public Knowledge, said the court
decision reinforced that fair use is a powerful and flexible
doctrine that enables not only new works, but also innovative uses
of existing works, that will lead to new efforts to expand our
access to culture and knowledge through digital formats.
With a new administration set to take power, it is unclear how
quickly copyright reform will be pursued by the incoming
Congressif at all. Certainly, the US Congress has other, more high
profile battles at the moment. But in their joint statement,
Goodlatte and Conyers said more policy proposals would come
now that their copyright review had concluded. It is time to move
forward into the next stage, the statement read.

23
BOOKLIFE_90MMX265MM.qxp_Layout 1 3/7/17 2:22 PM Page 1

Tuesday 14 March 2017

THE NEW MONTHLY Brexit, Trump and the pub

MAGAZINE DEDICATED TO I have a confession to make:

SELF-PUBLISHING! every day now for the last

few months when I awake
from my slumber I find
myself instantly checking my
Twitter feed, writes Stephen
Lotinga. Not to find out
whether my small band of
followers has retweeted my
latest thoughts, but to see
what missives the leader of
the Free World has made Stephen Lotinga
while weve all been asleep.
Its become a bit of a compulsion and Im probably not the
only one who feels that to have any grasp on our rapidly
changing world requires careful examination of the newly
elected presidents latest late-night Tweets.

Stay Up-To-Date on
The Latest Self-Publishing:
News + Trends + Reviews +
+ Professional Networking +
+ Book Development
New world
This is the world we now inhabit, where norms and
institutions we have long taken for granted are being
turned on their head in the blink of an eye. Technology has
been the enabler of a vein of deep dissatisfaction, which
very few predicted or immediately know how to respond
to. With first Brexit, and then the election of Donald
Trump, voters have set in motion a paradigm shift of
incalculable proportions. And with both the German and
French elections around the corner it would be foolish to
make any grand predictions as to what the future shape of
international politics will be. We may even yet see a former
German bookseller as the most powerful leader in Europe!
First off I think its worth saying that not all change is
inherently bad. Too often in society the establishment gets
comfortable and takes its positions for granted. If there is a
lesson from Brexit and Trump, it is that when the
establishment ignores the concerns of ordinary people for
too long then change will often be forced upon them. There
is also a predilection to blame voters for failing to truly
understand the decisions they have made when they dont
chime with our views. As my own brother pointed out to
me, after I had helped the Lib Dems spectacularly lose the
last general election, if voters werent happy with the status
quo, whose fault was that?

What does it mean for publishing?

Receive a FREE Digital Subscription
When you register for
the Booklife Report e-Newsletter!
PublishersWeekly.com/BLsubscribe
It was too easily taken for granted that the collective will of
the establishment could convince the voting public that
first Brexit and then Trump were the unpalatable choice for
those seeking security and stability. What politicians
somehow failed to anticipate was just how unpopular and
untrusted they have become. While all of us struggle to
keep up with the furious pace of change, the question of
course arises as to what does this mean for publishing, if
anything at all.

24
 Tuesday 14 March 2017

lishers role One of the

Some have sought to portray this shift as a surge to FIVE BEST
books on wartime
dangerous populism or part of the natural pendulum swing
away from progressive values. Im sure the reasons will be
debated for many years to come, but what is clear is that
there are opportunities for publishers who engage with and
respond to the new ideas and new voices around us. The
public demand for content that both reinforces and
secret missions.
challenges their preconceptions will remain unabated. Wall St. Journal
Providers of credible information
Secondly, at a time when Fake News has become a
watchword of our times there is an opportunity for those
with trusted brands to reassert themselves as providers of
credible information and the certainty people crave. Rather
than asking those who distribute content, such as
Facebook, to filter our sources, we must look to those with
the right expertise to tell us what is or is not factual. As the
German newspaper publisher, Axel Springer CEO Mathias
Dpfner, said recently: The best protection against biased
misinformation is the diversity of research and opinions
from as many publishers as possible.
Finally, in glorious Hollywood style Meryl Streep told an
audience of movie luvvies recently that in response to the
current political climate they should: Take your broken
heart, make it into art. While I may not agree with all of
Meryl Streeps views, I do have sympathy with her on this
one. At a time when it feels to many of us that the
prevailing mood is towards ever more closed societies,
where diversity and difference are not as valued as they
once were, the onus is on those who invest in creativity and
artistic and cultural expression to play their part in
bringing people together and reinforcing the values we

POLAND
cherish in society.
Whatever your views on the phenomenon you see
happening around us, I have no doubt that publishers and
the authors they support have both an opportunity and a
responsibility to seek to shape it. To this end the Publishers
Association is working to ensure that government is under
no illusions of the absolutely critical role that publishers

heroic stories, epic reads

play in our society.
This of course includes ensuring respect for copyright
and the role it plays in ensuring authors are properly
remunerated and that publishers are able to get a return on
their investment in order to reinvest in new works. That we
need our ministers to not only remain engaged in Brussels
as the proposals around the digital single market progress,
Distributed by National Book Network, www.nbnbooks.com
but to ensure the message of copyrights importance to
For rights queries: info@aquilapolonica.com
innovation, and business and export success, is threaded
into all our upcoming international trade deals so that
publishers continue to thrive whatever the circumstances.  Watch the trailer on YouTube!

Stephen Lotinga is chief executive of the Publishers Association.

The Auschwitz Volunteer
AQUILA
Stephen Lotinga will chair a conference session entitled Brexit: Good
News or Bad News for the Publishing Industry? today (14 March) at
POLONICA
www.AquilaPolonica.com

10am in Olympia Room, Grand Hall.

25
 London show daily
Audiobooks make noise
Christopher Kenneally looks at the strong growth in audiobook sales
Can you hear that? Its in the background
everywhere you go in the book world, and
its growing louder. The sound comes from
audiobooks, the fastest growing segment of
the trade book publishing market. The latest
available numbers from the US-based Audio
Publishers Association (APA) tallied $1.77
billion in audiobook sales for North
America in 2015, up by one fifth from 2014.
And thats just in North America,
explains Michele Cobb, executive director of
the APA, who spoke with me in a recent Christopher Kenneally
Beyond the Book interview. Worldwide,
audiobooks are continuing to grow, too. Its an exciting
time to be in our industry.
And the action isnt happening only on iTunes, Amazon
or Audible. OverDrive, a leading provider of digital
publishing to US public libraries, reported a 34% rise in
2016 audiobook borrowing numbers over 2015. Not
surprisingly, the most popular title among library patrons
was Paula Hawkins blockbuster, The Girl on the Train.
Digital has been a game changer
Audiobooks themselves are nothing new; as far back as
1878, only a year after he invented the phonograph,
Thomas Edison foresaw that recorded sound would one
day be used for reading books aloud. So what we are
seeing is kind of circling back to a format that has been
with us for quite some time, Cobb says. In 2017, she
notes, APA will mark its 30th anniversary as a membership
organization of producers, publishers, narrators,
distributors and retailers. But the advent of digital, she
says, has been a game changer.
In 1987, you could only put so much material onto each
record or onto each cassette or onto each CD, says Cobb. In
a digital world, the file can be as large as you want, so you
dont need to worry about abridging any of the materials. You
can carry an entire book with you. You have access to a larger
amount of materials in a very easy-to-use format.
To accommodate growing consumer demand, audiobook
production has flourished. Available titles grew from about
7,000 in 2011 to more than 35,000 in 2015, APA reports,
and selections now range far beyond bestsellers. I know
salespeople who for years have been learning sales
techniques and honing their skills as theyre driving
around, says Cobb. In the digital world, no one knows
what youre listening to. Weve certainly seen a rise in such
genres as erotica.
And its not just traditional publishers in the audiobook
game; just as self-published authors seized the business
opportunity presented when the Kindle created a launch
pad for ebooks, they are now hustling as well to create self-
26
Tuesday 14 March 2017
produced audiobooks that fill the demand
fed by smartphones and tablets.
Chris Howard, author of the Seaborn
trilogy, started with simply a laptop
computer, a microphone and a boom stand.
His research, though, led him to creative
ways to refine his recording techniques for
the first volume, Saltwater Witch.
Youre going to get better sound if you
can go sit in your walk-in closet with all the
clothes in it. Youre going to get less voice
bouncing off walls and other hard surfaces,
he says. But even if you cant do that, there
are a lot of applications that help you clean things up once
youve recorded.
First published by Juno Books in 2008, Saltwater Witch
and the other titles in the Seaborn trilogy are now available
in self-published editions after rights reverted to Howard.
The series follows its main character Kassandra as she
discovers who and what she is, while encountering an army
of the drowned dead and confronting family betrayal. (One
reviewer described the action as a mix of the Little
Mermaid story tossed with a limb or two of zombies.)
Listening habits
A software engineer at Copyright Clearance Center today,
Howard became an Audible subscriber shortly after the
audiobook pioneer debuted its service in 1998 (Amazon
purchased the company in 2008). When he recognized how
his own listening habits had shaped his reading library, the
enterprising author determined to create companion
audiobooks.
I lived in California for a long time, and now I live in the
Northeast. Ive always had one hour and longer commutes,
depending on where I was, Howard recalls. Friday evening
would come along, and I was well into a bookinto the
audiobook versionso I would go buy the book, or the
ebook, and just continue reading over the weekend.
Although the Saltwater Witch audiobook is now
available from Audible, Amazon and iTunes, the
experimental nature of the effort led Howard to release
them first via YouTube to absorb the reactions of what he
calls beta listeners. And the author/narrator says hes
learned to hear his own books in a new way.
If anyone knows the voice of a character, it should be
the author, Howard explains. I think that has been the
most difficult thing, to fit the voices of the characters with
the narration. I want to continue doing this and build up
those skills to make a quality piece of work. Im having a
blast, and now Im looking forward to the next book.
Christopher Kenneally hosts the weekly Beyond the Book podcast series from
Copyright Clearance Center. He can be reached at chrisk@copyright.com.
 Frankfurter Buchmesse / Alexander Heimann

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 London show daily Tuesday 14 March 2017

A hipper, faster BISG

Christopher Kenneally talks with Brian OLeary about his vision for the Book
Industry Study Group
Appointed executive director of the Book active in supporting ePub and doing a variety of
Industry Study Group in September, Brian other things, we werent as active in embracing
OLeary says the key to his leadership will be the overall supply chain. Thats changed a little
listening to members, whose voices include not bit in the last five years. For example, we have a
only traditional, established players but also really good initiative in the area of accessibility,
independent authors and publishers. where ePub plays a really significant role in
making content accessible to a print-disabled
CK: When it comes to solutions across the audience. But we still have more work yet to do.
supply chain, there are a couple of things that The key thing to keep in mind, though, is that
immediately come up. One of them is the its not print or digital, but its a print and
dialogue, perhaps conflict, between the physical digital world. Its not enough for us to go out
and the digital. BISG has been inclined toward Brian OLeary and say, Well, were going to focus on digital,
the physical side of things in the past. Are you because there are still quite a few problems in
moving now in a digital direction? Or is it a balance youre after? the physical book chain as well. I think that the real value of a
BOL: I think that its fair to say that we were relatively late BISG membershipthe core thing that it gives each of our
to embracing digital. The standard itself for digital books, ePub, member companies and the staff who participate in our
was created and managed by another organisation, IDPF committees and working groupsis an opportunity to shape the
[International Digital Publishing Forum], which is merging conversation, to change the dynamic, both of where publishing
with the W3C [World Wide Web Consortium]. While we were is and where its headed.

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28
 Tuesday 14 March 2017
CK: Standards are a topic that everyone hears a lot about,
particularly at publishing conferences. Which are the ones that
BISG is going to be most concerned with?
BOL: The standards that are most important for us are the
ones that either reduce friction or increase transparency in the
supply chain. Number one on the list is Onix 3.0, which is
stalled in its adoption in the United States. Its not the only
market in the world in which adoption of Onix 3.0 is slower
than it might be. But we are the largest market in which it is
not fully adopted. We are looking closely at what we can do to
make a business case for Onix 3.0, and thats going to be one
of our first-half-of-2017 events.
CK: Once upon a time, authors didnt view themselves as
part of the book industry; now they have a major role and will
have a lot to say about what happens. How will that change
BISG? What are your concerns there?
BOL: Organisations like the Independent Book Publishers
Association, along with the Evangelical Christian Publishers
Association, helped to found BISG. They recognised a need for
a horizontal trade association, one that looked end-to-end
across the supply chain. So our roots are there. Those
organisations are still representativetheyre in our
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membership, theyre on our boardand they inform what we
think about when it comes to new roles for independent
authors and publishers. But I think more broadly, and this
links back to standards, that the growth of an independent
community that doesnt understand, for example, the value of
identifiers, or finds that the cost of identifiers is greater than
the value that it provides to them, represents a risk for the
overall supply chain.
CK: What kind of a BISG will we see down the road? What
are you going to look like in 2018, 2019?
BOL: I want BISG in 2019 to be the organisation that
anyone in publishing comes to first when they have a problem
that touches one or more parts of the supply chain. We want to
become a problem-solving pipeline. You have a problem, you
bring it to us, we figure out a way to get it resolved. And if we
cant, then we know who can. Id also like to be a lot hipper
and faster. Were not particularly nimble right now. I like the
committee structure a lot, but things take time. Some things
must take time, but I dont think all things must take time.
Christopher Kenneally hosts the weekly Beyond the Book podcast from
Copyright Clearance Center. He can be reached at chrisk@copyright.com. To
listen to Kenneallys full interview with OLeary, visit beyondthebook.com.
/quirkbooks
3/3/17 11:35 AM
 London show daily
Self-publishing in digital still on the rise
The apparent decline of ebook sales over the past
two years has thrown up a series of questions
about the value of digital, but self-publishing is a
market that is almost solely reliant on digital sales,
writes Jasmin Kirkbride, so how has self-
publishing faired as digital has dropped? Is it in
decline as wellor not?
Successful self-published authors arent rare
at all, says Mark Dawson, who made the switch
from publishing traditionally to self-publishing
five years ago. There are layers of success in self-
Mark Dawson
publishing, from being able to buy your partner
dinner and paying your bills, to romance authors like Marie
Force or Barbara Freethy, who Dawson estimates make 7-8
figure sums per year. Dawson himself is an outlier, sitting
somewhere comfortably in the middle, but he seems to truly
believe that, given your writing is good and you have the right
marketing know-how, success is available to anyone and
everyone through self-publishing.
But is this confidence warranted? Boasting consistently well
below a 2% market share in print, self-publishing sales rely almost
exclusively on digital salesand digital sales, were told, are in
decline. The Publishers Association (PA) reported that between
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Tuesday 14 March 2017
2014 and 2015 there was a 2% decline in digital
sales, while Nielsen Bookscan reports that before
Christmas, it was recording a 5% decline in digital
sales during 2016.
However, some caveats must be applied when
applying these figures to the self-publishing
market. First, the PAs numbers do not take into
account Amazon imprints or self-published sales,
so do not represent a decline in either of those
areas. Second, when you get granular with the
Nielsen data, you find that Amazon imprint and
self-published digital sales have actually
continued to grow their share of the digital market.
Absolutely the market loss has come from traditional
publishers, says Nielsen account manager Hazel Kenyon, though
she added that digital was by no means a disappearing entity. Up
until 2015 we saw growth in ebook sales, so I think this decline is
just the market finding its feet. All markets ebb and flow.
Further, early figures from 2016 indicate that the growth of self-
and Amazon-published sales might be in proportion to the
markets overall shrinkage, meaning that self-published and
Amazon-published books could remain a stable sector. Indeed, in
the third quarter of 2016, self- and Amazon-published authors
accounted for more than one in every five ebooks soldthats more
than 20% of the market!
On top of its relatively stable sales, the self-publishing sector
also has increasingly varied routes to audience. The self-publishing
scene is rife with experimentation, while traditional publishers are
mostly less adventurous. Dawson, for example, is an expert online
marketer, teaching classes to other self-publishing authors who
want to take advantage of online algorithms. He also uses multiple
sales platforms: Amazon accounts for 70% of sales, Apple 20%
and 10% is via other outlets, including Google Play. Im agnostic
on how books are delivered, says Dawson. Amazon hasnt done
anything to make me worried, but Im insulated now so if Amazon
decided to do something that I didnt like, I would have the option
of concentrating on other platforms. Amazon dominates the
market, but they deserve to because they built it!
Further routes to market for self-publishers include platforms
like Wattpad and Scriggler, which allow writers to showcase their
work to millions of readers free of charge. There are what Dawson
calls sub-genres of self-publishing too, such as fan fiction, whose
success stories (50 Shades of Grey and Shadowhunters among
them) tend to emerge out of niche online audiences reading on
boutique websites and blogging platforms like Tumblr.
Theres no doubt that when the next big technological
breakthrough comes, self-publishers will be some of the first to
jump on itand, therefore, some of the first to benefit from it too.
Perhaps bearing this in mind, Dawsons vision for the future of
self-publishing is bright. I forget sometimes that Im in the
vanguard of this movement. I assume everyone must know that
this kind of success is possible, but thats not true! On the one
hand, thats kind of a reality check, but on the other hand its really
exciting, because were just getting started.
 Tuesday 14 March 2017 London show daily

Blazing the publishing trail

In 2017, the Trailblazer Awards returned managing director. In 2016, she joined
for their successful second year, writes Daunts and has already acquired Nobel-
Jasmin Kirkbride. Organized by LBF and winning Patrick ModianosVilla Triste.
the Society of Young Publishers (SYP), The winners were narrowed down from
with BookBrunch as the media partner, a shortlist of 30 under 30 by a panel of
the Awards aim to showcase publishing judges including LBFs director Jacks
professionals in their 20s who have made Thomas; BookBrunchs joint editor Neill
a significant contribution to the industry. Denny; Emma House, director of publisher
Anna Russo Heather McDaid
The five award winners were relations at the Publishers Association;
announced in early February at a stylish event in London, Peter McKay, chief executive of the Publishing Training Centre; and
hosted by Paul Blezard. The 2017 Trailblazers are Anna Russo, the SYPs 2016 chair Zara Markland. The game changer this year
sales executive at Hodder Education; Caroline Tatam, platform was the calibre of entries and the number of entries, commented
marketing executive at Cambridge University Press; Claire Thomas. Everything is so full of opportunity and some of the
ONeill, business affairs manager at Audible; eljka Maroevic, people who are best placed to take advantage of that are those in
co-publisher at Daunt Books Publishing; and Heather McDaid, their twenties. All these things that the
publisher at 404 INK and Scot Lit Fest. The trailblazers Trailblazers are doing morphs into the
nominated for tonights award represent the absolute best of exciting world of publishing; publishing
[an] appreciation for the old ways, combined with a relentless spills out into your life and your life spills
and imaginative quest for new skills, said Max Porter in his into publishing. I thought that was really
keynote speech. If the people on this list exemplified by the list.
represent the industry today its an The five winners have each received VIP
industry we should all be hugely excited entry to LBF 2017 and membership of The
to be a part of. Club at the Ivy pop-up at the Fair. eljka Maroevic
Between them, the Trailblazers boast an
impressive list of achievements. Anna
Russo at Hodder Education took on a
new list in the Caribbean. She showed
Claire ONeill energy, vision and professionalism in
managing bookshop, school and Ministry of Education sales,
said Robert Sulley, group international director at Hodder
Education, in his nomination. She has displayed attitude and
decision-making beyond her years. Sales grew 25% in 2016, far
exceeding budget. Anna is a rising star in the industry.
Caroline Tatam was the top-ranking graduate out of 500
applicants in CUPs 2013 intake. Over the next three years,
she took charge of the biggest project ever undertaken within
Academic Publishing at CUP, replacing all the online
e-publishing systems with one new integrated platform. It was an
unprecedentedly large project to have been completed within CUP
by someone of her age, and she delivered it with great success.
Claire ONeill works at Audible to develop groundbreaking
audiobooks, includingTransby Juliet Jacques and Dame Jenni
MurraysA History of Britain in 21 Women. She is also
co-founder of Beehive Films, whose first feature-length
documentary,Half Way, is on national theatrical distribution.
Heather McDaid co-founded literary
publisher and magazine 404 Ink. She also
ran and programmed the Saltire Societys
virtual book festival Scot Lit Fest, which
featured Diana Gabaldon, Michel Faber
and Kirsty Logan.
Finally, eljka Maroevic has previously
worked for 4th Estate and launched
Caroline Tatum Melville House UK, where she was

31

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Tuesday 14 March 2017
Are you in or are you out?
At the time of writing, my
Refugees Welcome placard
has just seen its first protest
of the year, writes Erica
Jarnes. Probably by the time
you read this it will have
made several more trips to
Downing Street, what with
Trumpism, Brexit and the
UKs pitiful response to the
refugee crisis trying their best
to outdo each other in the Erica Jarnes
shame stakes.
This week, while attacks on Polish immigrants are on the
rise across the country, under the elegant ceilings of Olympia
we will discuss the potential readership for the latest novel by
Olga Tokarczuk. Some might see 2017s Market Focus as a
painful reminder of how impossibly polarised Britain has
become. Others would say that importing more Polish voices
to Anglophone publishing (and elsewhere) can only be a good
thing, particularly in these inflammatory times. It strikes me
though that there is a local nuance to the debate, which is that
the UK and Polands shared history means many people who
are British are actually also Polish, and vice versa.
The concept of foreignness
It seems to me that in 2017 our very concept of foreignness needs
to be challenged. On the one hand there is an idea of European
countries as distinct entities, whose cultures and traditions we may
understand or admire, whom we may invite to expos and do
business deals with. On the other hand, citizens of these countries
who come to live in the UK are called immigrants, defined
primarily by a relationship to these shores (well, unless they
are not white, in which case other identifiers are also imposed).
The truth is, of course, that the UK is home to several million
Europeans who have both a relationship to this country and
myriad connections to other cultures and languages. Some of
these people, and their children, may be avid readers in English.
Some may contribute important new translations and other
cultural connections. And some may even produce the fresh,
new British art and literature of tomorrowif we can only stop
thinking of them simply as outsiders and allow all these
exciting influences to take root. Its time to acknowledge the
connection between the Europe out there and the European-
ness that is actually part of the evolving fabric of British
societyto say nothing of the African-ness, the Asian-ness and
the Caribbean-ness. This isnt straightforward, but its essential.
There are publishers working on this frontier. Saqi Books
proudly publishes Muslim voices from the UK and abroad, in
English and in translation. The relaunched Penguin Modern
Poets series celebrates contemporary international voices and
their inter-connections. Media Diversified publishes journalism
by BAME writers, making overt links between home-grown
British issues and their international contexts. Pushkin Press built
 STARWATCH_90MMX265MM_0307.qxp_Layout 1 3/8/17 11:43 AM Page 1

Tuesday 14 March 2017

t? NOMINATE
its reputation publishing Stefan Zweig, a writer who captured a YOUR BEST AND
BRIGHTEST!
genuinely European spirit, and who was one of the most
popular and widely translated writers of the 20th century. For
more than 30 years Wasafiri magazine has given valuable review
space to the first novels and early poetry of minority writers,
many of whom are now household names.

Diaspora communities in the UK

At the Poetry Translation Centre we translate, publish and tour
leading contemporary poets from Asia, Africa and Latin America,
giving their work a new life in the English language. We emphasise
poets from countries that have a big diaspora community in the
UK, e.g. the Somali community, the Sudanese community and
the Iranian community. These communities have been described
as hard to reach and outside the mainstream of British
culture. In fact they place a great value on poetry and come out
in large numbers when one of their poets visits the UK.
Our poet tours take us all around the UK, to major festivals
as well as to community centres and schools. Because we make
a clear connection between proud poetic cultures from around
the world and immigrant communities based here, our
audiences tend to be lively and culturally diversewhich is
great for the poets and great for the audiences too.
We work on the simple principle that poetry is a meeting
The PW Star Watch program is now open for
place, and that translation is the life-blood of poetry. We nominations. We are in search of the next
produce new translations through regular workshops in
London, to which anyone is welcome. We also pair U.S. publishing Superstar. Nominate your fellow
international poets with leading UK poets and professional
translators to produce collaborative translations for publishing professional who is an emerging
publication, all in the spirit of friendship and exchange.
We are excited to be working with some serious British talent leader in a specific discipline or field.
in 2017. In the summer we will be pairing Turkish-Armenian
poet Karin Karakal with the amazing Sarah Howe, and
The one Superstar receives:
Kurdish poet Bejan Matur with the great Shetland poet Jen An all-expenses-paid trip to the
Hadfield. These pairs, along with professional literary Frankfurt Book Fair
translator Canan Marasligil, will be on the road in June and
July, coming to a venue near you! In the autumn we will publish A spread in Publishers Weekly
our latest poetry collection with Bloodaxe Books, The Sea
Migrations by brilliant Somali poet Caasha Lul Mohamud Recognition at the NYC event
Yusuf, in translation by Clare Pollard (together with Maxamed
Xasan Alto and Said Jama Hussein). And to top it off we are
in September
working with poet Daljit Nagra and scholar Martin Orwin to
translate a narrative poem called Catastrophe, an electrifying For additional information, visit:
response to the ongoing refugee crisis by up-and-coming Somali PublishersWeekly.com/StarWatch17
poet Xasan Daahir Weedhsame. Watch out for our beautiful
special edition, released to tie in with Refugee Week 2017. Nominations Close on June 15, 2017
We live in galvanising times. It is frightening to consider the
impact that populism, or one unfit and erratic US president, IN AS SOC IATIO N WI TH
might have on international cohesion. On the other hand, this
new uncertainty offers us a chance to look again at the resilience
of our own sector, our cultural assumptions, our ideas of who the
audience is, which voices we want to hear and amplifyand what
direction we want to be going in, together.
Erica Jarnes is managing director of the Poetry Translation Centre.

33
 London show daily
Finding Londons really good British food
A funny thing happened to food in England in the
latter 20th century: it started becoming English,
writes Colman Andrews. Food-savvy visitors to
London used to worry about what theyd find on
their plates; would it all be boring old roast beef
and mushy vegetables, maybe some treacly pudding
for dessert? Or mystery-meat pies with lard-laden
crusts, and heart-attack breakfasts of blood sausage
and eggs fried in bacon grease? If you cant afford
the fancy French places, experienced travellers used to warn,
eat at Indian restaurants, or stick to fish and chips.
Today, of course, London is considered one of the worlds great
dining capitals, with eating places great and small representing
every kind of international cuisine, but the restaurants I most
want to go to when Im in the English capital are the ones that
actually serve the food of this sceptred isle itself.
Although British food has long been scorned, there was a time
when they ate superblyprobably at least as well as the French.
English cookbooks of the 17th, 18th and 19th centuries describe
incredible meals, and include every kind of meat, fish, game,
vegetable and fruit imaginable. Some historians believe that the
English taught the French how to roast meat. So, what happened?
A lot of things: the pleasure-denying zeitgeist of the Victorian
era; the mass rural exodus of the Industrial Revolution (and the
corresponding disconnection between, as they say these days, farm
and table); the overriding influence of French celebrity chefs; and
the privations of the two World Wars, to name just a few.
There were some bright spots in the 1950s and 60s, but the real
renaissance of indigenous culinary tradition began in the mid-
1970s. Chefs like Anton Mosimann at the Dorchester Hotel
(offering British National and Regional dishes) and later Simon
Hopkinson, Brian Turner, Sally Clarke, Fergus Henderson, Jeremy
Lee, Mark Hix, Rowley Leigh and many more energized the
London restaurant scene by looking inward, at all their nations
wonderful food products, but also backwards,
to definitive British recipes from the past.
Harwood Arms
Walham Grove,
Fulham, SW6 1QP
020 7386 1847
Anchor & Hope Quo Vadis
36 The Cut, 26-29 Dean Street,
Southwark, SE1 8LP Soho, W1D 3LL
020 7928 9898 020 7437 9585
The Malt House Hix Soho
17 Vanston Place, 66-70 Brewer Street,
Fulham, SW6 1AY Soho, W1F 9UP
020 7084 6888 020 7292 3518
St John The Quality Chop House
26 St John Street, 88-94 Farringdon Road,
Clerkenwell, EC1M 4AY Clerkenwell, EC1R 3EA
020 7251 0848 020 7278 1452
34
Tuesday 14 March 2017
Dishes with rural origins, like potted crab or shrimp,
mackerel with sorrel sauce, chicken pie, Welsh salt
duck, jugged hare, lamb cooked in hay, and a whole
pastry-shop full of simple, but irresistible, desserts
found their way onto London menusnot as nostalgia,
but as pleasingly edible reminders of the depth and
breadth of Britains culinary heritage.
Even the most avant-garde of British chefs, Heston
Blumenthalwhose Michelin three-star Fat Duck in
Bray-on-Thames pushes culinary boundaries as much as do any
of those famous Spanish temples of molecular gastronomy
embraced tradition. His London restaurant, Dinner by Heston
Blumenthal, draws on centuries of classic British recipes: savoury
snail porridge (c. 1660); fillet of Angus beef with mushroom
ketchup (c. 1830); poached rhubarb with hibiscus and rose hip
jam (c. 1590). All proving that what was old can be new again.
There are many other good restaurants in London (most of
them less expensive and easier to get into than Dinner) where
one can sample traditional English cooking or modern
interpretations of it. The so-called gastropub movement, which
developed in the early 1990s out of a revivified pub called The
Eagle, wasnt necessarily British (fish and chips might feature,
but so too chicken curry or moussaka). Today, though, English
flavours are palpable at such gastropubs as the Michelin-starred
Harwood Arms, where wild game is the specialty; the Anchor &
Hope, with its grilled Orkney kippers and seven-hour Swaledale
lamb shoulder; and The Malt House, where a meal might start
with smoked ham hock and parsley terrine, and go on to pan-
roasted partridge with shallot and apple pure.
Beyond gastropubs, I would direct diners first of all to St John,
where the remarkable Fergus Henderson and his crew serve such
deceptively simple ingredient-focused fare as roast bone marrow
with parsley salad, and grilled venison saddle with pickled walnuts.
Another must is Quo Vadis, since 2012 the preserve of Scottish-
born chef Jeremy Lee, whose no-frills menus offer the likes of
smoked eel sandwiches, wild duck with bacon and prunes, and
a daily savoury meat or game pie with mashed potatoes.
The third essential stop for anyone wishing to eat British at
its best is Mark Hixs Hix Soho, where the menu teems with
such only-in-Britain delights as pork cracklings with Yorkshire
rhubarb sauce, Cornish fish stew, chicken and lobster pie, and
the classic Sussex Pond pudding (a buttery, caramelized lemon
dessert whose origins date back to 1672). Then theres The
Quality Chop House, an updated working mans eating
house with a pub-like warmth. I try to go there every time Im
in London, for a single dish: mince (ground beef) with toast
fried in beef drippingsgloriously simple, thoroughly satisfying.
Whats being served in these and other first-rate London
restaurants specializing in British dishes grows out of centuries of
tradition and utilizes the countrys astounding natural bounty.
And I think its as good as any food in the world today.
Colman Andrews is the author of nine books on food. His latest book, The
British Table: A New Look at the Traditional Cooking of England, Scotland,
and Wales (Abrams), celebrates the best of British cuisine old and new.
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debut saw a 34% ratings growth across
28 markets in Europe, Asia-Pacific and
Latin America, making it the highest-
rated international launch in Fox
Networks history.

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